親密罪案
為了穩(wěn)住情婦,不知內(nèi)情的克勞迪婭在海灘上險(xiǎn)遭她丈夫雇用的保鏢強(qiáng)迫。但是,保鏢恰好正是個(gè)非常有魅力的男人,克勞迪婭無(wú)法抗拒。她無(wú)法預(yù)料,丘比特的箭帶來(lái)的還有殺身之禍......
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劇情提要
為了穩(wěn)住情婦,不知內(nèi)情的克勞迪婭在海灘上險(xiǎn)遭她丈夫雇用的保鏢強(qiáng)迫。但是,保鏢恰好正是個(gè)非常有魅力的男人,克勞迪婭無(wú)法抗拒。她無(wú)法預(yù)料,丘比特的箭帶來(lái)的還有殺身之禍......
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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