催情寶鑒之性癖

　　Camiel Borgman突然出現在某個富有的郊區(qū)，敲響了一戶小康之家的大門。他是誰？他代表夢想、魔鬼、諷喻，還是代表了我們的恐懼？

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

A special team of allied forces are sent to infiltrate a Nazi occupied bunker. When they arrive, they discover the scientific experiments that have been taking place there have turned everyone into super human, flesh eating zombies.

 在時裝周的狂熱中，三位女性在巴黎的生活中不期而遇，她們一邊應對著世界的悲劇，一邊思索著自己人生的問題：麥克斯（Maxine），一位40多歲的美國電影導演，發(fā)現自己患上了癌癥；阿達（Ada），一位年輕的南蘇丹模特，逃離了她注定的命運，卻被推入了一個充滿欺騙的世界；安吉爾（Angèle），一位在T臺幕后默默工作的法國化妝師，夢想著逃離自己的生活。