蛇蝎美人

　　圣·特魯佩斯城來(lái)了一些外星人。他們進(jìn)而化裝成平民。時(shí)而冒充警察了解人類的生活。當(dāng)?shù)鼐熵?fù)責(zé)搜捕。但外星人變化無(wú)窮，神秘莫測(cè)，層出不窮的誤會(huì)和笑話把警察們搞得狼狽不堪。在一次交鋒中，警察意外發(fā)現(xiàn)外星人怕水，于是，巧使計(jì)謀，使用水攻……

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

A noir portrait of Italy in the Seventies.

小說(shuō)作家阿貞與拳王父親從小存在隔閡，父親離世后，她通過(guò)格斗競(jìng)技探尋真相，逐漸理解父親并完成自我蛻變。影片圍繞父愛(ài)與親情展開(kāi)，男主角雖格斗天資一般，仍不懈追尋夢(mèng)想。劇情融合文與武轉(zhuǎn)換、善與惡抉擇，最終阿貞為父正名，成為真正的格斗家 。