比基尼模特學(xué)院

? 3.4 播放：53萬 2026-05-03

當(dāng) T.J.和石磊，兩個(gè)加州二十-東西最好的哥們，失去他們的女朋友，他們開始本土的比基尼造型學(xué)院賺錢和滿足新的女孩子。從 T.J.的叔叔西摩 (Gary 里布) 的一點(diǎn)幫助，那些家伙開始招聘的漂亮女孩，直到對手建模學(xué)校由他們老的小學(xué)敵人試圖關(guān)閉它們。 　　

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? 播放 比基尼模特學(xué)院

劇情提要

當(dāng) T.J.和石磊，兩個(gè)加州二十-東西最好的哥們，失去他們的女朋友，他們開始本土的比基尼造型學(xué)院賺錢和滿足新的女孩子。從 T.J.的叔叔西摩 (Gary 里布) 的一點(diǎn)幫助，那些家伙開始招聘的漂亮女孩，直到對手建模學(xué)校由他們老的小學(xué)敵人試圖關(guān)閉它們。 　　

幕后花絮

歲歲平安

暴雨將至，轟隆隆的聲音夾雜著人群的呼喊聲砸向操場，正在參加小學(xué)田徑比賽的唐平安重重的摔倒在地面，當(dāng)母親李枚趕到醫(yī)院時(shí)，醫(yī)生卻給了再生一個(gè)孩子做骨髓移植的建議，李枚怔怔的站在深不見底的樓道，像是對她過去十幾年最好的懲罰，故事從這里開始。十幾年前，李枚在計(jì)劃生育政策下為了生二胎，不得不將襁褓中的女兒歲歲遠(yuǎn)送他鄉(xiāng)親戚，不料幾年后，漸漸成熟的歲歲卻成了猥瑣養(yǎng)父趁女兒洗澡時(shí)偷偷窺視的對象，看上去多余的歲歲在一次爭吵后離家出走，流浪的女孩卻遇到了新的“父親”劉建凱，一個(gè)住在船上打漁為生的男人，以父女相稱，看起來生活就這么好起來了。幾年后，突然一個(gè)陌生的女人闖入歲歲的生活，自稱姑媽。其實(shí)是李枚兒子平安突發(fā)白血病以后，他們想起了被自己拋棄的女兒，通過當(dāng)年的一絲聯(lián)系，輾轉(zhuǎn)找到了女兒歲歲，這是這個(gè)家庭唯一的希望。只是女兒歲歲似乎早已經(jīng)知道了真相，他們互為朋友，互相試探，互相利用，最終他們都要回家，可是歲歲的家到底在哪里？

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