劇情縱覽
很久沒回到故鄉,見到善京的正勛。聽到善京過去喜歡過自己的故事后,她對善京說自己的心也一樣,誘騙善京。真心喜歡正勛的善京。但是,其實正勛在牛郎酒吧工作的時候遇到了客人藝珍…成為藝珍的假男友,過著領零花錢的生活。因為這段關系而疲憊地回到了故鄉…
很久沒回到故鄉,見到善京的正勛。聽到善京過去喜歡過自己的故事后,她對善京說自己的心也一樣,誘騙善京。真心喜歡正勛的善京。但是,其實正勛在牛郎酒吧工作的時候遇到了客人藝珍…成為藝珍的假男友,過著領零花錢的生活。因為這段關系而疲憊地回到了故鄉…
時間轉眼到達2127年,修老道又從地獄中走了出來,這一次,他發覺自個兒在外宇宙的一艘飛船上,原來這是Merchant博士的一個規劃,他計劃將地獄之門永恒的閉合.Merchant博士的祖輩,一個18百年的七巧板制作商,就是魔方的制作者.固然幾個百年以往了,但Merchant一家始末為關閉地獄之門而盡力盡量.這一次,Merchant博士要在外宇宙將修老道徹底消泯……
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
艾瑪在夜深人靜的時候被帶走了,渾身是瘀傷,意外懷孕了。在婦女庇護所找到了一個新家,她重新發現了自己失去的一面。在住在避難所的婦女和兒童中,個人創傷交織在一起。盡管他們有分歧,但一種微妙的姐妹情誼出現了。“一部關于女性為自尊和獨立而戰的電影,面對一個剝奪她們發言權的世界。這部電影將觀眾帶到了一個女性避難所的墻壁后面,向他們展示了一個令人驚訝的充滿活力的世界,那里的生活正在重建。如果有痛苦,也有力量、快樂和希望。角色和他們的故事植根于真實的經歷和情感,由演員和非演員共同扮演。情感誠實至關重要”。導演的筆記。
這部在歌舞片發展早期拍攝的影片,堪稱是當時最為奢華的好萊塢巨制。影片由后來被譽為“爵士之王”的保羅·懷特曼領銜主演,還請到了一眾歌舞名手。片中的內容取自百老匯的經典演出,通過名家和管弦樂隊的出色演繹,為觀眾感受爵士年代風情提供了一次珍貴的機會。影片在當年獲得了奧斯卡最佳藝術指導獎。2013年,它還被美國國會圖書館列入國家電影目錄。