剧情纵览
对二次元异常沉迷的塔米本是个大宅女,虽然对性事充满着渴望却并没有体验过,在好姐妹的鼓吹之下参加了一次漫展并cosplay了喜欢的角色,在漫展上更是大放异彩,充满着“善意”的摄影师肯向塔米抛出橄榄枝,只需拍摄一些cosplay的香艳写真,就能获得不菲的报酬...
对二次元异常沉迷的塔米本是个大宅女,虽然对性事充满着渴望却并没有体验过,在好姐妹的鼓吹之下参加了一次漫展并cosplay了喜欢的角色,在漫展上更是大放异彩,充满着“善意”的摄影师肯向塔米抛出橄榄枝,只需拍摄一些cosplay的香艳写真,就能获得不菲的报酬...
影视公司宣传企划杨佳(刘诗诗 饰)得了怪病,命悬一线。暗恋她的程序员刘同(胡夏 饰)为使她不留遗憾,决定在她每次昏迷苏醒之际,以穿越之名为她圆梦。但,刘同的行动并不顺利,除了突发情况带来的穿帮,还有来自情敌尹哲(大左 饰)的奋力阻挠、戳穿。刘同竭尽全力与重重困难斗智斗勇,结果却完全出人意料——原来,杨佳并非真病,她是为对付上司骚扰,佯作患疾。刘同的努力,她完全明了,刘同为她精心设计的从民国到未来,跨越200年的美妙梦境,让杨佳深受感动。大家到此方才恍然大悟。可是,又一个意外横飞而来……
本片是关于一个被自己的父母抛弃的女孩的故事,14岁就离家出走的她,被当地的一个牧师收养了。后来,她所遇到的人,将会给她本来就很悲惨的命运带来怎样的影响呢?对于安吉拉.阿卜迪恩来讲,为了她,他宁愿牺牲自己也要与撒旦达成死亡契约,这样就可以让她灵魂永生,为了报仇,她先去把那牧师的教堂烧成了焦土,而牧师因为喝多了而死在了教堂里。可是后来,她却在都市的灯红酒绿中染上了毒瘾和酒瘾,殊不知,她的脚已经迈入了地狱之门…从做了艳舞女郎到做妓女,发现毒瘾已让她无法自拔,甚至他觉得撒旦也抛弃了她 。
因忍受不了男友Moses(任贤齐)的平凡,阿Mi狠心与他分手,塞翁失马焉知祸福,Moses在老人院做义工时,与怪脾气老头蛤蚧王成为忘年之交,后者死后,给他留下巨额遗产。蛤蚧王的此举招致其律师Allen的不满,他在夜总会发泄时无意中将此事告诉了小姐Didi(张柏芝)。 为将Moses钓到手,Didi使出浑身解数,无奈均不奏效。发现Moses是绝种好男人后,Didi对他动了真心,两人开始热恋,不久,Allen将Didi的原来身份相告Moses,令他异常伤心,此时,阿Mi又前来要与他复合。
Ayşe, 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