他母親的房子
"Petter暫無內(nèi)容(Svein暫無內(nèi)容Sturla暫無內(nèi)容Hungnes)暫無內(nèi)容quits暫無內(nèi)容his暫無內(nèi)容studies,暫無內(nèi)容and暫無內(nèi)容break暫無內(nèi)容up暫無內(nèi)容with暫無內(nèi)容his暫無內(nèi)容girlfriend.暫無內(nèi)容He暫無內(nèi)容moves暫無內(nèi)容back暫無內(nèi)容to暫無內(nèi)容his暫無內(nèi)容homeplace,暫無內(nèi)容to暫無內(nèi)容his暫無內(nèi)容mother暫無內(nèi)容(Bente暫無內(nèi)容B?rsum)暫無內(nèi)容who暫無內(nèi)容lives暫無內(nèi)容alone.暫無內(nèi)容There暫無內(nèi)容has暫無內(nèi)容always暫無內(nèi)容been暫無內(nèi)容a暫無內(nèi)容good暫無內(nèi)容relationship暫無內(nèi)容between暫無內(nèi)容Petter暫無內(nèi)容and暫無內(nèi)容his暫無內(nèi)容mother,暫無內(nèi)容and暫無內(nèi)容she暫無內(nèi)容doesn`t暫無內(nèi)容mind暫無內(nèi)容that暫無內(nèi)容he暫無內(nèi)容moves暫無內(nèi)容back暫無內(nèi)容home.暫無內(nèi)容When暫無內(nèi)容Petter暫無內(nèi)容finds暫無內(nèi)容a暫無內(nèi)容new暫無內(nèi)容girl暫無內(nèi)容at暫無內(nèi)容his暫無內(nèi)容homeplace,暫無內(nèi)容his暫無內(nèi)容mother暫無內(nèi)容reacts暫無內(nèi)容in暫無內(nèi)容a暫無內(nèi)容negative暫無內(nèi)容way.
即刻觀影
劇情賞析
編輯推薦
孤獨(dú)犯罪狂
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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
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怪物驚魂
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百日孤獨(dú)
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