不要睡覺

　　弗蘭克·沙萊克是個國際刑警，沙萊克在工作中的過激行為有被上司停職的危險。 弗蘭克·沙萊克有一個秘密組織，專門從事尋找綁架兒童的線索。 沙萊克聽到唱詩班指揮的死亡，他認為他自己能調查這個案件，并且他也已經發現了一個線索，并與卡斯丹合作調查。但隨著調查的深入，他們越陷越深，那些秘密就隱藏在二次大戰的那些黑暗歷史中

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

 1951年，英國鄉村邊緣，德盧斯家族的莊園已在歲月中斑駁頹敗。11歲的弗拉維亞·德盧斯，是家族里最離經叛道的孩子——她癡迷化學，尤其精通毒藥，更有著超越年齡的偵探天賦。當一具陌生尸體出現在莊園的庭院中，她的父親哈維蘭上校成了警方的頭號嫌疑人。為了洗刷父親的冤屈，弗拉維亞拿起放大鏡與化學試劑，在老宅的藏書室、實驗室與莊園的隱秘角落中展開調查。她周旋于警探、古怪的家族成員與小鎮居民之間，在層層迷霧中探尋真相，而隨著調查深入，她也逐漸揭開了家族隱藏多年的秘密。

講述了獨自撫養女兒的公務員國熙相信完美主義是在世界上生存的唯一出路，命運般地遇到弗拉門戈舞而展開的故事。