15歲的夏天

★ 2.7 播放：40萬(wàn) 更新：2026-04-26

Peter,暫無(wú)內(nèi)容who暫無(wú)內(nèi)容was暫無(wú)內(nèi)容a暫無(wú)內(nèi)容teenager暫無(wú)內(nèi)容in暫無(wú)內(nèi)容the暫無(wú)內(nèi)容50s,暫無(wú)內(nèi)容is暫無(wú)內(nèi)容reminiscing暫無(wú)內(nèi)容about暫無(wú)內(nèi)容the暫無(wú)內(nèi)容days暫無(wú)內(nèi)容of暫無(wú)內(nèi)容his暫無(wú)內(nèi)容youth,暫無(wú)內(nèi)容and暫無(wú)內(nèi)容his暫無(wú)內(nèi)容awakening暫無(wú)內(nèi)容sexuality.暫無(wú)內(nèi)容The暫無(wú)內(nèi)容film暫無(wú)內(nèi)容is暫無(wú)內(nèi)容based暫無(wú)內(nèi)容on暫無(wú)內(nèi)容Knut暫無(wú)內(nèi)容Faldbakken’s暫無(wú)內(nèi)容novel

在線播放

劇情簡(jiǎn)介

Peter,暫無(wú)內(nèi)容who暫無(wú)內(nèi)容was暫無(wú)內(nèi)容a暫無(wú)內(nèi)容teenager暫無(wú)內(nèi)容in暫無(wú)內(nèi)容the暫無(wú)內(nèi)容50s,暫無(wú)內(nèi)容is暫無(wú)內(nèi)容reminiscing暫無(wú)內(nèi)容about暫無(wú)內(nèi)容the暫無(wú)內(nèi)容days暫無(wú)內(nèi)容of暫無(wú)內(nèi)容his暫無(wú)內(nèi)容youth,暫無(wú)內(nèi)容and暫無(wú)內(nèi)容his暫無(wú)內(nèi)容awakening暫無(wú)內(nèi)容sexuality.暫無(wú)內(nèi)容The暫無(wú)內(nèi)容film暫無(wú)內(nèi)容is暫無(wú)內(nèi)容based暫無(wú)內(nèi)容on暫無(wú)內(nèi)容Knut暫無(wú)內(nèi)容Faldbakken’s暫無(wú)內(nèi)容novel

導(dǎo)演精選

神勇雙響炮續(xù)集

　　小魔怪乃飛虎隊(duì)成員，因一次出錯(cuò)，被調(diào)派至行動(dòng)組與雷公共事，二人成斗氣冤家。威威李乃變節(jié)臥底，罪證菲林輾轉(zhuǎn)落在李女友Rosa手中，后來(lái)李遭反派毒手；小魔怪和雷公憑機(jī)智及運(yùn)氣終把壞蛋們繩之于法。

她不是我媽媽

 故事圍繞一對(duì)姐弟 Vira 與 Dino 展開(kāi)；在父母離異后，他們與母親共同生活，卻發(fā)現(xiàn)母親逐漸“變了”。母親癡迷使用所謂的 “ajian” 和 “rajah”（護(hù)身符或咒語(yǔ)）為生意帶來(lái)好運(yùn)，卻漸漸伴隨著奇怪的暴力行為與精神崩潰

好像一切都很糟糕

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