眾歸于我

? 6.3 播放：87萬(wàn) 2026-04-23

一個(gè)母親、她的兩個(gè)兒子、他們的妻子和一位被收養(yǎng)的女傭，六個(gè)人居住在同一屋檐下，面臨可能將他們撕裂的問(wèn)題。在這場(chǎng)混亂中，家中的女性們堅(jiān)定不移地努力保持家庭的團(tuán)結(jié)。

在線觀看

? 播放 眾歸于我

劇情提要

一個(gè)母親、她的兩個(gè)兒子、他們的妻子和一位被收養(yǎng)的女傭，六個(gè)人居住在同一屋檐下，面臨可能將他們撕裂的問(wèn)題。在這場(chǎng)混亂中，家中的女性們堅(jiān)定不移地努力保持家庭的團(tuán)結(jié)。

幕后花絮

好像一切都很糟糕

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

我的老婆是女優(yōu)

馬丁是一名成人電影行業(yè)的經(jīng)紀(jì)人，在一家夜總會(huì)偵察時(shí)，他遇到了達(dá)莎。她在洗手間里給他看了一些非常有才華的東西，他開(kāi)始考慮讓她在一部成人電影中扮演一個(gè)角色。這個(gè)行業(yè)最近變得非常時(shí)髦，他向她承諾，她將成為超級(jí)明星，她的電影將炸毀網(wǎng)絡(luò)。然而，。..