劇情縱覽
為了完成女兒高三前的小小心愿,父親李博宇決心帶著李妍遠赴阿勒泰滑雪。突如其來的意外帶走了李博宇的意識,也讓為妻為母的潘雁秋做出了一個女人最艱難的決定。當家漸漸失溫,一只名為可樂的小狗帶著倔強闖入了她們的生活,成為母女爭執的焦點,也成為苦樂煙火的陪伴。如何在傷痛后放下悔與執?如何在成長中習得愛與勇?當往日的困境重現,她們的人生,又是否有無憾的選擇?
為了完成女兒高三前的小小心愿,父親李博宇決心帶著李妍遠赴阿勒泰滑雪。突如其來的意外帶走了李博宇的意識,也讓為妻為母的潘雁秋做出了一個女人最艱難的決定。當家漸漸失溫,一只名為可樂的小狗帶著倔強闖入了她們的生活,成為母女爭執的焦點,也成為苦樂煙火的陪伴。如何在傷痛后放下悔與執?如何在成長中習得愛與勇?當往日的困境重現,她們的人生,又是否有無憾的選擇?
公元1126年,北宋靖康元年。漠北女真人以4萬鐵騎入侵中原。由于太上皇宋徽宗的昏聵以及軍備疏散,金兵長驅直入,如入無人之境。一路燒殺搶掠,直攻到東京汴梁。城破之日,金兵虜徽、欽二帝,是為靖康之恥。此后欽宗之弟趙高繼位,是為高宗。一代英雄岳飛護佑高宗,被困牛頭山。為迫岳飛投降,金將兀術派二太子金彈子(張成忠 飾)、三公主銀鈴子(張希玲 飾)和張兆奴(張躍寧 飾)前去偷襲岳家莊,欲虜岳母以作要挾。岳飛之子岳云(尋峰 飾)自幼喜好舞槍弄棒,一雙銀錘使得風生水起。他聞聽父親被困牛頭山,計劃偷偷前往助陣,卻被幾個兄弟掣肘。牛皋之子牛通(劉衛民 飾)偶然遇見偽裝后的金彈子等人,無意中得知偷襲計劃,于是連忙趕往岳家莊報信。得知消息的岳家小將們整飭裝備,等待即將到來的一場大戰……
當社區的毒品問題開始影響居民并引發動亂時,人們將求助的目光投向了警方。然而,這些本應保護和服務民眾的警官們,卻對此問題視而不見。一群熱心居民組成民防隊,誓言將肅清不法掃蕩三害!
《靈魂燈》的故事發生在封建時代的一個北方村莊。Thuong 獨自撫養兒子,希望丈夫服完兵役后能回來。一天,Linh(Thuong 的兒子)無意中撿到一盞神秘的燈。他開始稱墻上的影子為父親。據村里的巫師說,這是一盞靈魂燈,可能召喚了尋求報復的惡靈。從那一刻起,不尋常的鬼魂事件開始困擾 Thuong 和村民。
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