劇情縱覽
未朝某年,山東李彌將軍因對朝廷成跡彪炳,獲封她贈金告老歸田,安享天年。其子李玉乃飽學之士,書畫琴棋無所不精,其妻阮氏亦十分賢淑。但不久李玉夜里常作惡夢,夢中皆是些戰亂中慘死之亡魂不斷纏擾,而在夜里李竟將妻和她表兄二人殘暴殺死,自此後李玉變得神態失常。
未朝某年,山東李彌將軍因對朝廷成跡彪炳,獲封她贈金告老歸田,安享天年。其子李玉乃飽學之士,書畫琴棋無所不精,其妻阮氏亦十分賢淑。但不久李玉夜里常作惡夢,夢中皆是些戰亂中慘死之亡魂不斷纏擾,而在夜里李竟將妻和她表兄二人殘暴殺死,自此後李玉變得神態失常。
時空的轉換,現在與未來的穿梭,都在杰克(亞德里安·布洛迪 Adrien Brody 飾)身上神奇的發生著。他本來是一個參與過海灣戰爭的美國軍人。意外中彈令他喪失了記憶,成為一個失憶者。繼而更倒霉的是,他被警方認作殺人疑犯拉回審訊。因為判定為精神疾病,杰克免于坐牢,只是被帶到精神病院,作為某項科學實驗的樣品。 醫生為杰克穿上了緊身衣物,把他放進停尸間。這里黑暗冰冷,只剩下零散的記憶碎片陪伴杰克。碎片中有著他將來的模樣,有著一個心愛的叫杰基(凱拉·奈特利 Keira Knightley飾)的女子,更有著自己快要死去的訊息。在記憶中看到將來的杰克,在一線希望中尋找著通往生機的鑰匙。
美麗少女安吉?阿爾布萊特(莎拉?湯普森 Sarah Thompson 飾)獨自到位于偏遠山區小鎮的亞當斯學院求學。這里看似安寧,卻是個地道的危險所在,一段時間內不斷傳出女孩失蹤并被殺害的消息。某天,安吉在學校布告欄看到招聘保姆的通知。為了賺取生活費,她前往通知上所寫的農莊應聘。雇主是年輕的史丹頓夫婦吉姆(布魯斯?托馬斯 Bruce Thomas 飾)和瓦爾莉特(Kristen Dalton 飾),他們即將參加農場舉行的集會,因此招聘保姆照看他們年幼的兒子山姆(凱伊?卡斯特 Kai Caster 飾)。應聘當夜,山姆很早上床睡覺,安吉則獨自一人看書,這一晚似乎平靜輕松。但隨之后來的一系列事件隨即引起安吉的恐慌:默不作聲的騷擾電話、不斷撞擊的房門、沉默冷靜的山姆、經常尾隨安吉的神秘男子。這一切的背后,仿佛隱藏著更為恐怖的秘密……
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
當Claire的女兒在一次瀕死體驗后表現出越來越令人不安的行為時,她開始相信自己的女兒把邪惡的東西從另一個世界帶回來了。