一個手忙腳亂的父親(莫羅尼 飾)購買了一個家政服務機器人(福克斯 飾)來幫忙打理家務、照顧家人，然而隨著機器人的意識覺醒，一家人反而陷入了危機之中……

　　在一場暴風雨中，兩個罪犯找到了一個看似廢棄的農場小屋避雨。他們挾持了里面的居民，但沒有想到，這個看似廢棄的小屋有著自己的秘密......

1930年代的阿爾及利亞，冷漠的法國人默爾索對生命徹底漠然。他的情感疏離最終導致一場謀殺，隨后的審判不僅審視罪行，更拷問其靈魂。改編自加繆小說《局外人》。

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