劇情縱覽
第1集。我老婆不在的時候 今天是我妻子出門在外的日子。 當我妻子離開家時,她想到有外遇,便立即長大并安慰了她 一個大膽地邀請她回家的中年男人。 戀愛后,當我打電話到某個地方時,另一個男人進來了。 第2集 本地商務旅行的樂趣 遍布全國的推銷員。 通過讓我的女朋友遍布全國,您可以節省住宿費用,并且可以盡情享受性生活。 今天,另一個人是和服女人,技術嫻熟,半年后便團聚。我今天再次興奮。
第1集。我老婆不在的時候 今天是我妻子出門在外的日子。 當我妻子離開家時,她想到有外遇,便立即長大并安慰了她 一個大膽地邀請她回家的中年男人。 戀愛后,當我打電話到某個地方時,另一個男人進來了。 第2集 本地商務旅行的樂趣 遍布全國的推銷員。 通過讓我的女朋友遍布全國,您可以節省住宿費用,并且可以盡情享受性生活。 今天,另一個人是和服女人,技術嫻熟,半年后便團聚。我今天再次興奮。
故事梗概 本片為香港德寶電影公司的創業巨制之一,由杰出的攝影指導鐘志文升任導演,是一部熱鬧的浪漫冒險喜劇。內容描述一名地下軍火專家制造了一個小型炸彈企圖有所不軌,計劃被助手知悉,以致他殺人滅口,但卻被三名互不認識的平凡寂寞人目睹此事件。兩名瘋狂殺手奉命追殺三名目擊者,他們乃展開逃亡,過程中發揮同舟共濟的精神來化解危機。全片是典型以追殺為主戲的娛樂片,但不強調暴力動作,反而有不少驚險笑料。三個主角的個性也純真好玩,將都市寂寞人偶然碰到刺激遭遇時的反應生動地表現了出來。
六位身份各異的陌生人,為贏取高額獎金,在神秘盒子的指引下受邀參與世界頂級密室逃脫游戲。誰知密室內布局精良機關重重,陷阱遍布殺機暗藏。是刺激游戲,還是博命賭局?誰在背后操控這一切?誰能夠成功破解謎局,逃出生天?
繁華的國際大都會香港鬧市中心,口若懸河的洪家寶(陳百祥 飾)帶著傻乎乎的小弟麥交(邵國華 飾)公然行竊,結果路上遭遇妙齡女郎嘉嘉(張艾嘉 飾)舉報。雖然兩人百般抵賴,但在最后關頭漏了馬腳,被警察關進監獄。令洪、麥意想不到的是,嘉嘉居然是監獄的輔導官,所謂冤家路窄,洪家寶真是窩了一肚子火。二人所在的牢房獄霸橫行,為了逃出對方魔爪,他們不惜羞辱監獄長官。經過一段時間牢獄之災,二人和獄中認識的伙伴冠仁(胡大為 飾)出獄。誰知他們死性不改,騙吃騙喝再度鋃鐺入獄,這次又撞上了有著一副好皮囊、愛裝警察的小混混榮仔(張國榮 飾)。 洪家寶大罵榮仔,意想不到的是榮仔的老姐居然就是洪的仇敵嘉嘉……
Ay?e, Ali, Mehmet and Zeynep are middle-class millennials struggling to make ends meet in Istanbul. Either still living with their parents or hardly getting by without help from their families, they are all beset by similar woes: money crunch, joblessness, social isolation. In view of the world’s horrors that Zeynep enumerates in her diary entries, these are minor problems, ‘slight disasters’, but they are all-consuming, at least to the extent of making them cry in the still of the night. However, Umut Subasi’s first feature, Almost Entirely a Slight Disaster, is not a melodrama. With an appealingly light touch, it diagnoses the malaise of a generation that has run up against a dead end, one whose future prospects are indistinguishable from a game of chance. This is a world where astrology, the lottery and online personality tests compete with visa and job applications as life-shaping elements. Fittingly, the film is structured around chance and coincidence, with its handful of characters encountering each other in every permutation, as though there were no world outside this small social bubble. With self-aware, frontal framing that pins characters to their surroundings and a counterintuitive musical score that turns pathos into humour, Subasi offers a social-media movie without social media, one whose characters are united in their double lives and frustrated desires. 源自:https://iffr.com/en/iffr/2023/films/almost-entirely-a-slight-disaster