劇情簡(jiǎn)介
二戰(zhàn)時(shí)期，身為猶太人的女主人公被關(guān)進(jìn)納粹集中營(yíng)。在那里她和一個(gè)在囚犯身上做人體實(shí)驗(yàn)的醫(yī)生發(fā)作了一段感情糾葛，也因此保住了性命。數(shù)十年事先，女主人公和兩個(gè)兒子生活在一同。那段曾經(jīng)的往事不時(shí)困擾著她，同時(shí)兩特性情懸殊的兒子，也各有各的煩惱。當(dāng)他們知道母親的過(guò)去后，又會(huì)有如何表現(xiàn)呢？
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亂馬OVA特別篇無(wú)差別格斗對(duì)鳳凰
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銀瀑2：重現(xiàn)
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博格曼
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捍衛(wèi)時(shí)空戰(zhàn)士
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好像一切都很糟糕
Melis Sevin?,Melisa Bostanc?o?lu,?brahim Ar?c?,Mert Can SevimliAy?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