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葉甫蓋尼·奧涅金的生活很奢華：舞會(huì)、招待會(huì)、戲劇首演以及首都能為年輕人提供的其他娛樂(lè)活動(dòng)。但社交生活早已讓他疲憊不堪，因此他認(rèn)為住在村里的叔叔生病的消息是一個(gè)逃離令人厭惡的世界的機(jī)會(huì)。然而，到了莊園后，奧涅金得知一個(gè)親戚去世了，但這并沒(méi)有讓葉甫蓋尼太難過(guò)。他的經(jīng)濟(jì)狀況非常糟糕，叔叔很有錢(qián)，卻沒(méi)有其他繼承人。奧涅金把自己關(guān)在莊園里，避開(kāi)鄰居，鄰居們很快就開(kāi)始稱他為怪人。葉甫蓋尼過(guò)著漫無(wú)目的的孤獨(dú)生活，直到從國(guó)外回來(lái)的莊園主人出現(xiàn)在鄰近的莊園--一個(gè)年輕、熱情、對(duì)生活尚未滿足的連斯基，他把葉甫蓋尼介紹給了塔吉婭娜和奧爾加·拉林姐妹。

還魂之迷失曼谷

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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

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　　帶著過(guò)往傷痛，塞吉?dú)W只身一人前往「微笑之村」擔(dān)任代理教師。這座對(duì)負(fù)能量零容忍的小鎮(zhèn)，明明曾遭逢巨變，居民們卻笑口常開(kāi)。原來(lái)，讓這座微笑之村風(fēng)光明媚的秘方，是一位能吸取人間苦痛的男孩，他的身體如祭壇，透過(guò)擁抱承擔(dān)全村的悲傷。他為人搭建快樂(lè)天堂，自己卻陷入無(wú)盡黑暗。塞吉?dú)W與男孩的相遇，攪亂了鎮(zhèn)上的平衡；那座煉獄之門(mén)，也終將反向人間敞開(kāi)。

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After an eccentric billionaire creates a drug called INOC which stops the aging process effectively eliminating death itself, the future of a world where death no longer exists is seen. Through a seemingly harmless children's toy, the story of the fate of mankind is told while also revealing an elusive truth to its unknowing spectator.