劇情縱覽
主人翁艾曼妞原是忠于丈夫的純情妻子,跟外交官丈夫前往泰國,遇上一群法國老鄉。鴛鴦戀她赫然發現那些貴婦人在異國環境下因感生活沉悶而到處留情,她在別人慫恿下也邁出了偷腥的第一步。不料在她丈夫知悉后,不但未予責怪,竟然鼓勵她深入探索自己的內心情欲需求,于是她更加肆無忌憚地在曼 谷的大街小巷展開“性之旅”。后來艾曼妞認識了一名當地的性愛大師,在他的引導下終于達到情欲解放的最高境界。
主人翁艾曼妞原是忠于丈夫的純情妻子,跟外交官丈夫前往泰國,遇上一群法國老鄉。鴛鴦戀她赫然發現那些貴婦人在異國環境下因感生活沉悶而到處留情,她在別人慫恿下也邁出了偷腥的第一步。不料在她丈夫知悉后,不但未予責怪,竟然鼓勵她深入探索自己的內心情欲需求,于是她更加肆無忌憚地在曼 谷的大街小巷展開“性之旅”。后來艾曼妞認識了一名當地的性愛大師,在他的引導下終于達到情欲解放的最高境界。
擁有15年資歷的資深女獄警,得知自己所負責的收容人美英母親的死訊,之后開始展開的故事。獄警在告別式場以及殯儀館遇見了美英的女兒俊英,這短暫的相遇,給三人的生活帶來了溫暖的變化。
In “Muzzle: City of Wolves,” Jake Rosser (Eckhart), haunted by PTSD from his days as a K-9 officer, endeavors to lead a peaceful life with his family and retired K-9 companion, Socks. But the tranquility quickly dissolves when a ruthless gang targets them in a brutal attack. Determined to protect his loved ones, Jake and his new K-9 partner Argos delve into a violent underbelly of crime where Jake confronts corrupt officials, uncovers a perilous drug trafficking ring and battles his own inner demons.
故事設定在近未來,由于人口過剩和饑荒,政府不得不實行“獨生子女”政策。正因為這個嚴格的計劃生育議程,姐妹們必須輪流使用一個人的身份Karen Settman(拉佩斯飾)。她們的祖父(達福飾)給其命名為周一、周二、周三、周四、周五、周六和周日。每個人都可以每周外出一次。姐妹們只有在自己的公寓里才可以自在生活。直到有一天,“星期一”沒回家......
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