初哥·初女·初夜情

　　查理的前妻失蹤了，于是他去了她長(zhǎng)大的地方，一個(gè)位于西部的鄉(xiāng)村城鎮(zhèn)尋找她。 但是，令人驚訝的是，沒有人知道她或她親戚的所在。 然后他又遇到外星人，但是當(dāng)他聯(lián)系聯(lián)邦調(diào)查局時(shí)，并沒有人相信他。 他只好將故事登報(bào)，并隨即受到了外星人的追殺。

 【故事簡(jiǎn)介】利翁茲·奧馬克與天人的戰(zhàn)斗以真正的改革者剎那·F·清英等人的勝利拉上了帷幕。獨(dú)立治安維和部隊(duì)A-Laws解體，世界終于走向了和平。這樣過了兩年，西歷2314年，表面上消失了的天人為了防止戰(zhàn)爭(zhēng)發(fā)生仍然在暗處活動(dòng)著，這時(shí)，新的戰(zhàn)爭(zhēng)打響了信號(hào)。再次集結(jié)起來的高達(dá)駕駛員們乘坐著新式高達(dá)，開始了戰(zhàn)斗！【STAFF】企畫：sunrise原作：矢立肇、富野由悠季腳本：黑田洋介人設(shè)原案：高河弓動(dòng)畫人設(shè)：千葉道德機(jī)體設(shè)定： 海老川兼武、柳瀨敬之、福地仁、鷲尾直廣、寺岡賢司、中谷誠(chéng)一、大河原邦男動(dòng)畫機(jī)體設(shè)定： 中谷誠(chéng)一美術(shù)設(shè)定：須江信人（KUSANAGI）美術(shù)監(jiān)督：若松榮司（KUSANAGI）色彩設(shè)計(jì)：手島明美（Wish）音響監(jiān)督：三間雅文攝影監(jiān)督：葛山剛士（旭Production）旁白：古谷徹制作人：池谷浩臣（sunrise）、佐々木新（sunrise）監(jiān)督：水島精二制作：創(chuàng)通、sunrise

77年，范賢英（李沐 飾）是照相館老板的女兒，她的青梅竹馬李弘國(guó)（宋柏緯 飾）自小陪伴在旁，暗戀卻從未說出口。某天，韓國(guó)跆拳道教練金浩熙（鄭振永 飾）應(yīng)青年團(tuán)之邀來到中壢，走進(jìn)照相館，悄然與賢英產(chǎn)生情愫，也打破了原有的平靜。 　　隨著選舉風(fēng)暴與社會(huì)動(dòng)蕩席卷而來，三人的青春在微光中交錯(cuò)，逐漸學(xué)會(huì)如何堅(jiān)持心中的信念，尋找屬于自己的光亮。

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