大石剛介（三船敏郎 飾）升任關(guān)東同盟理事長(zhǎng)，與中島組佐倉(cāng)一誠(chéng)（佐分利信 飾）勢(shì)均力敵，維持著表面的和平。但日本政界要員大山喜久夫（片岡千惠藏 飾）因癌癥病倒，幾乎再次點(diǎn)燃兩派戰(zhàn)火。大山幸得一宮恭夫（高橋悅史 飾）醫(yī)治死里逃生，因此號(hào)召幫派聯(lián)合，遭到兩派抵制。　　此時(shí)塞班島開發(fā)項(xiàng)目成為抗?fàn)幍膶?dǎo)火索。中島組干部川西（菅原文太 飾）為籌措資金，強(qiáng)令木村建設(shè)破產(chǎn)，并將木村之女獻(xiàn)給保守黨要員刈田（西村晃 飾）。另一方面，大石拉攏刈田的兒子春男入伙，作為特使赴塞班島向美國(guó)官員行賄。大山暗示佐倉(cāng)除去大石，一場(chǎng)攪和了黑幫、政客、外國(guó)人的紛爭(zhēng)就此展開，而佐倉(cāng)似乎也朝日本首領(lǐng)的目標(biāo)又邁進(jìn)了堅(jiān)實(shí)的一步……

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

　　毎年夏と冬に怪獣映畫を公開する東寶との直接対決を避けて春休みに公開することになった“ガメラ“シリーズ。富士火山帯の活動(dòng)で出現(xiàn)したギャオスは、名古屋を火の海にするが、炎を好むガメラが現(xiàn)れ、陸?海?空を舞臺(tái)に死闘が展開される。

Hilarion Zabala，一名前軍士長(zhǎng)，被一種奇怪的氣味折磨著。診斷是幻覺，即嗅覺幻覺，他感知到的氣味實(shí)際上并不存在。他的醫(yī)生將此歸因于過去的創(chuàng)傷，并建議他直面并回憶自己黑暗的服役期作為解決方案。扎巴拉愿意承擔(dān)任何任務(wù)，自愿訪問軍事基地，最終被分配到一個(gè)偏遠(yuǎn)的島嶼流放地。然而，另一個(gè)可怕的現(xiàn)實(shí)在那里等待著他。從宗教流血到侵犯婦女人權(quán)，人類造成的各種形式的暴力在結(jié)構(gòu)上和日常生活中仍然普遍存在。在暴力時(shí)代，如何實(shí)現(xiàn)正義和救贖？用于防止暴力的暴力行為是否有正當(dāng)理由？深沉的痛苦通過沉思的黑白圖像反映出來。（BOO Kyunghwan）