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剛一起生活不久的美妍和珉宇。但是兩人之間出現了很大的問題。作爲第3代獨子,非常珍貴的民佑。至今隻有一個人停留在20歲的思考方式。結果,與美妍大吵了一架。美妍就那樣離開了民宇…喝醉後想起以前見過的多熙的...
剛一起生活不久的美妍和珉宇。但是兩人之間出現了很大的問題。作爲第3代獨子,非常珍貴的民佑。至今隻有一個人停留在20歲的思考方式。結果,與美妍大吵了一架。美妍就那樣離開了民宇…喝醉後想起以前見過的多熙的...
故事发生在1966年6月6日的上午6时,在这样一个不吉利的时刻,美国大使罗伯特(格利高里·派克 Gregory Peck 饰)领养了一个男孩并取名戴米(哈维·史蒂芬斯 Harvey Stephens 饰)。随着时间的推移,戴米渐渐长大,一些奇怪事件的接连发生预示着厄运敲响了罗伯特的家门。戴米的保姆莫名自杀后,一个神秘的女人贝洛克(比莉·怀特劳 Billie Whitelaw 饰)毛遂自荐留在了戴米的身边。之后,神父博南(帕特里克·斯偌顿 Patrick Troughton 饰)找到了罗伯特,他告诉罗伯特,戴米是撒旦的孩子,戴米会不择手段完成统治世界的野心。对于神父的话,罗伯特半信半疑,直到博南神父的死讯传来,罗伯特才意识到,事态的发展是多么的糟糕。
1971年印巴战争期间,年轻的印度战士准备保护自己的家园免受更大的威胁。
棠家一脉花开,将军身故,棠夫人站在家族宗法宝塔上,也就立足弥陀乡政治的顶端。黑白两道,茶盏交错之间,玲珑心,剔透眼,柔软身段,霹雳手段,女人天下。大女儿棠宁玲珑八面,却怀一股心思幽微,小女儿棠真乖巧听话,学着继承泡茶待客之道,随棠夫人帘后织手暗操线,青春初丰满的羽翼,能如何担起腥风血雨?棠家牵线的土地开发计划出现变数,好友议员一家遭灭门惨案,以血掀变,弥陀乡势力重新洗牌,暗潮涌动,台北二十年,大家深宅三代女人,千手染血的观音,骨与血,治与乱,情欲与权力层层密谋穿织。
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