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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
在西班牙馬略卡島的一次旅行中,兩位年輕女子(吉爾和薇薇安)在一家偏僻的酒吧里遇到了一群歐洲游客。她們一起游覽了當(dāng)?shù)氐耐讲铰肪€,卻以薇薇安慘遭殺害而告終。友誼逐漸被猜忌和恐懼所取代,幸存者們開始努力找出潛伏在她們中間的兇手。——布魯克法官
十五年前,莉茲的前男友德魯因搶劫銀行而被捕。如今,德魯突然出現(xiàn)在她家後院,請求她讓自己暫時藏匿。莉茲竟答應(yīng)幫忙,但前提是要她老公不在家。
朱莉在巴黎一家豪華酒店打工,工作非常辛苦,還要努力照顧在鄉(xiāng)下的兩個孩子。后來,她得到了一個期待已久的工作面試機(jī)會,但一場全國性的罷工爆發(fā)了,導(dǎo)致公共交通系統(tǒng)陷入癱瘓。一直以來,朱莉努力在生活中維系著一種平衡,而這種脆弱的平衡被突發(fā)事件所打破。為了得償所愿,她冒著隨時都會碰壁乃至失去一切的風(fēng)險,開始了一場與時間的瘋狂賽跑。