劇情縱覽
在丈夫多年的虐待之后,一位名叫Emmanuella的婦女被推向了崩潰的邊緣。她雇了一個(gè)殺手來對付她的丈夫,但就在她認(rèn)為自己的麻煩已經(jīng)結(jié)束時(shí),殺手勒索了她。當(dāng)她丈夫的商業(yè)伙伴努力證明自己有罪,殺手繼續(xù)威脅她新找到的安全時(shí),Emmanuella努力保持自己的清白,并防止她天真的繼女卷入她制造的危險(xiǎn)網(wǎng)。
在丈夫多年的虐待之后,一位名叫Emmanuella的婦女被推向了崩潰的邊緣。她雇了一個(gè)殺手來對付她的丈夫,但就在她認(rèn)為自己的麻煩已經(jīng)結(jié)束時(shí),殺手勒索了她。當(dāng)她丈夫的商業(yè)伙伴努力證明自己有罪,殺手繼續(xù)威脅她新找到的安全時(shí),Emmanuella努力保持自己的清白,并防止她天真的繼女卷入她制造的危險(xiǎn)網(wǎng)。
所謂的無船員的船攜帶咖啡駛?cè)爰~約,但是當(dāng)警察和一些科學(xué)家在船上發(fā)現(xiàn)了船員可怕的尸體和大量的盒子裝滿綠色蟲蛋。爆炸的時(shí)候蛋溫度升高和任何人誰接觸的物質(zhì)都會爆炸。現(xiàn)在政府介入和幸存的軍官,一名上校和一名宇航員發(fā)現(xiàn)這些蛋可能與災(zāi)難性的火星任務(wù)有關(guān)。
哈里(阿諾?施瓦辛格 Arnold Schwarzenegger 飾)是美國FBI的高級特工,他正在奉命調(diào)查一起跨國核武器走私案件。出于安全考慮,哈里連結(jié)婚15年的妻子海倫(杰米?李?柯蒂斯 Jamie Lee Curtis 飾)都沒有告訴他的真實(shí)身份?! 『愂且幻胀ò最I(lǐng),平凡的生活已令她心生厭倦。一次,汽車商西蒙假扮FBI特工,溜到海倫家謊稱自己被人追殺。緊張刺激的經(jīng)歷很快令海倫著迷?! ∵@一切都沒有逃過真正的FBI特工哈里眼睛。哈里利用間諜偵查手段令到西蒙洋相百出,并化妝成法國人正欲調(diào)戲海倫時(shí),被恐怖分子突然襲擊,兩人被挾持到一個(gè)熱帶小島。哈里和海倫最終能否逃出生天,挫敗恐怖分子陰謀?
少女梅寶(佩珀·柯達(dá) Piper Curda 配音)偶然借助突破性技術(shù),讓自身意識“跳脫”身體,進(jìn)入機(jī)械動物體內(nèi),“變身”為一只活潑靈動的河貍,從而得以潛入動物社群內(nèi)部,更以“人類思維闖入動物本能”的獨(dú)特視角,揭開一場充滿意外與溫情的野外探險(xiǎn)。
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