劇情縱覽
她(成賢娥暫無(wú)內(nèi)容飾)與他(趙東赫暫無(wú)內(nèi)容飾)相遇在電梯里。兩人之間莫名的迸發(fā)出了情感,享受著高層電梯中的相處時(shí)間。她很為難,因?yàn)樗龑⒁c相戀七年的男友結(jié)婚了。但她還是禁不住對(duì)他的好奇之心,她不明白自己為何會(huì)向這個(gè)陌生人傾注如此多的感情。同一天,他們?cè)俅蜗嘤隽?,她更加喜歡溫柔的他了,二人發(fā)生了關(guān)系。
她(成賢娥暫無(wú)內(nèi)容飾)與他(趙東赫暫無(wú)內(nèi)容飾)相遇在電梯里。兩人之間莫名的迸發(fā)出了情感,享受著高層電梯中的相處時(shí)間。她很為難,因?yàn)樗龑⒁c相戀七年的男友結(jié)婚了。但她還是禁不住對(duì)他的好奇之心,她不明白自己為何會(huì)向這個(gè)陌生人傾注如此多的感情。同一天,他們?cè)俅蜗嘤隽?,她更加喜歡溫柔的他了,二人發(fā)生了關(guān)系。
原名南營(yíng)神經(jīng)精神醫(yī)院的昆池巖精神病院,最早建立于20世紀(jì)60年代。在特殊的時(shí)代它曾經(jīng)歷了無(wú)比的輝煌,然而更為人熟知的則是該醫(yī)院身上所發(fā)生的各類恐怖事件。現(xiàn)如今,早已廢棄的昆池巖醫(yī)院被CNN票選為全球七大恐怖之地之一,更由此吸引無(wú)數(shù)尋求刺激的青年男女來(lái)此探險(xiǎn)。三個(gè)月前,兩名青少年來(lái)此探險(xiǎn),結(jié)果在直播中遭遇詭異事件,下落不明。此后,《恐怖世代》劇組在魏河俊的召集下,網(wǎng)羅了吳雅妍、樸智賢、夏洛特(文藝媛 飾)、李丞旭、樸成勛、劉帝允等人前往昆池巖,更試圖打開(kāi)備受詛咒的402室?! ∫鼓唤蹬R,全球網(wǎng)友一道觀看這場(chǎng)恐怖盛宴……
澳大利亞悉尼,新南威爾士正遭受嚴(yán)重的干旱,水資源短缺成為亟待解決的問(wèn)題。為了應(yīng)對(duì)這一情況,政府決定開(kāi)發(fā)一項(xiàng)水資源循環(huán)利用的項(xiàng)目,其中包括將位于悉尼城市下方的一段廢棄的鐵路隧道加以利用。圍繞隧道的改造和難民去向,在社會(huì)上引起了巨大爭(zhēng)論。雖然沸沸揚(yáng)揚(yáng),但是該廢棄隧道的改造計(jì)劃卻戛然而止。與此同時(shí),關(guān)于隧道中存在著神秘怪物的傳言也愈演愈烈?! ∫欢蝁outube上流傳的視頻引起了女記者娜塔莎·華納(貝爾·戴利亞 Bel Deliá 飾)的注意,她聯(lián)系了幾名業(yè)內(nèi)的好友和同事,帶著攝像器材前往隧道中一探究竟,恐怖的旅程就此拉開(kāi)序幕……
1990年,一艘巨大的飛船出現(xiàn)在地球上空,人們惶恐不安,卻又分外好奇。經(jīng)過(guò)一段時(shí)間緊張的等待,外星飛船始終沒(méi)有動(dòng)靜。人類終于小心翼翼靠近它,強(qiáng)行走進(jìn)艙內(nèi),結(jié)果發(fā)現(xiàn)了不計(jì)其數(shù)的外星人。他們形容丑陋,宛如蝦子,而且健康狀況極差,虛弱無(wú)力。原來(lái)這是一群來(lái)自外星的難民,他們最終被地球人接納,并隔離在南非約翰內(nèi)斯堡的一片區(qū)域內(nèi)生活,此地名為“第九區(qū)”。經(jīng)過(guò)長(zhǎng)達(dá)20年的繁衍,外星難民的數(shù)量擴(kuò)張至180萬(wàn)之多,且和周邊人類的矛盾沖突不斷,越來(lái)越多的人類呼吁將“大蝦”趕出地球?! NU(列國(guó)同盟組織)經(jīng)過(guò)磋商,決定將外星難民遷移到更為偏遠(yuǎn)的區(qū)域。MNU外星事務(wù)部門的特工威庫(kù)斯(Sharlto Copley 飾)專門負(fù)責(zé)搬遷工作。威庫(kù)斯在動(dòng)員過(guò)程中傲慢隨意,與當(dāng)?shù)鼐用駴_突頻頻。最終,他為自己的行為付出代價(jià),外星人的神秘流體將其感染,威庫(kù)斯慢慢變成了外星人的模樣……
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