劇情縱覽
杰伊(MarkRylance飾),倫敦一名失意的音樂家,生活拮據,前途黯淡,每天只能靠在酒吧當侍者維持生活。對他來說,最令人期待和激動的便是每個周三的下午。這一天,總有一名陌生女子(KerryFox飾)來到杰伊的公寓,兩人不發一言,只沉浸在原始的x愛之中,完事后女子決然離開。然而杰伊漸漸不滿足于這短暫的相會,他開始偷偷跟蹤這個女子,了解她的生活,而兩人的關系也隨之發生了變化本片榮獲2001年柏林電影節金熊獎、藍天使獎、最佳女主角銀熊獎。
杰伊(MarkRylance飾),倫敦一名失意的音樂家,生活拮據,前途黯淡,每天只能靠在酒吧當侍者維持生活。對他來說,最令人期待和激動的便是每個周三的下午。這一天,總有一名陌生女子(KerryFox飾)來到杰伊的公寓,兩人不發一言,只沉浸在原始的x愛之中,完事后女子決然離開。然而杰伊漸漸不滿足于這短暫的相會,他開始偷偷跟蹤這個女子,了解她的生活,而兩人的關系也隨之發生了變化本片榮獲2001年柏林電影節金熊獎、藍天使獎、最佳女主角銀熊獎。
澳大利亞男演員杰森·克拉科將出演影片《查帕奎迪克島》(Chappaquiddick,暫譯),他在片中飾演肯尼迪家族成員之一參議員愛德華·肯尼迪,即肯尼迪總統的弟弟。《面紗》導演約翰·卡蘭執導筒。影片將聚焦1969年以愛德華·肯尼迪為核心的“查帕奎迪克丑聞事件”,“肯尼迪詛咒”再次現身大銀幕。
Hamza Ali Mazari, whose real identity is Jaskirat Singh Rangi, pursues his undercover operation within Pakistan's criminal world while tracking down Majo.
規模龐大幾乎盤踞全球的跨國銀行IBBC在這個錢權主宰的社會里簡直無所不能,它不僅操控著各國經濟,牽制著政府的決策,甚至參與洗錢、販賣軍火、勒索綁架等各種黑道行動,它就像一只大章魚將觸角伸向黑夜的每個角落。國際刑警路易斯·塞林格(克里夫·歐文 Clive Owen 飾)目睹同事因企圖泄露銀行機密而遭遇暗殺,他決意受命前往柏林徹查IBBC洗錢內幕,得益于另一位正義者副檢察官埃莉諾·惠特曼(娜奧米·沃茨 Naomi Watts 飾)的同行協助,兩人很快發現了跨國銀行更多鮮為人知的非法活動,甚至包括資助恐怖分子和發動戰爭。兩人決心揭露跨國銀行的真實面目,然而,無所不知的IBBC早已注意到這兩只螻蟻,殺手隨即派到,路易斯和埃莉諾最終能否贏得這場螳臂當車的生死周璇?
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