要命高潮：雙腿間的秘密

愛(ài)定你殺定你

　　青春少女瑪麗（Cécile De France 飾）和愛(ài)莉西婭（Ma?wenn Le Besco 飾）是同在法國(guó)巴黎一所大學(xué)就讀的好朋友。某個(gè)周末，兩人驅(qū)車前往愛(ài)莉西婭家位于鄉(xiāng)下的農(nóng)場(chǎng)度假。適值深夜，萬(wàn)籟俱寂，瑪麗寂寞難耐正在自我宣泄之時(shí)，一個(gè)不速之客突然闖入。他殘忍殺害了愛(ài)莉西婭的父母和年幼的弟弟，并將其擄去。為了營(yíng)救好友，瑪麗悄悄鉆進(jìn)兇手的卡車。途經(jīng)一個(gè)加油站，她換上同樣慘遭殺害的店員的車?yán)^續(xù)跟蹤，卻被狡猾的兇手發(fā)現(xiàn)行跡。一場(chǎng)近乎迷幻的貓鼠殺戮游戲旋即進(jìn)入高潮……　　本片榮獲2003年Sitges – Catalonian國(guó)際電影節(jié)最佳女主角（Cécile De France）、最佳導(dǎo)演、最佳化裝和歐洲奇幻電影大獎(jiǎng)銀獎(jiǎng)。

會(huì)長(zhǎng)的貼身?；?/h3>

　　單均銘為了保護(hù)母親一手創(chuàng)辦的成人皇家藝術(shù)學(xué)院不被拆遷建成商業(yè)街，收購(gòu)了學(xué)校。準(zhǔn)備對(duì)學(xué)校進(jìn)行維護(hù)加建，卻遭到了誤以為他要拆學(xué)校的顧婉婉的強(qiáng)烈阻攔。單均銘為了不讓顧婉婉影響他對(duì)學(xué)校的改造進(jìn)度，強(qiáng)行將顧婉婉留在身邊，讓她沒(méi)時(shí)間搗亂。 兩人卻在相處的過(guò)程中互相吸引，單均銘發(fā)現(xiàn)自己愛(ài)上了顧婉婉，準(zhǔn)備向顧婉婉告白。 告白前夕，單均銘意外發(fā)現(xiàn)了顧婉婉就是五年前那個(gè)戲弄了他的感情，還間接害他聽(tīng)力受損，不得不放棄學(xué)習(xí)音樂(lè)的人。單均銘決定報(bào)復(fù)顧婉婉。 直到顧婉婉傷心離開(kāi)，單均銘才發(fā)現(xiàn)不管是五年前還是五年后，一切的事情，都是莊美言的設(shè)計(jì)，他誤會(huì)了顧婉婉。單均銘恍然大悟，最終找回了顧婉婉。

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