大汲嘢

★ 3.1 播放：69萬(wàn) 更新：2026-05-12

陳寶蓮為一雜志出版社主持人，為增加女性讀者人數(shù)，要開(kāi)辟一新專欄，揭開(kāi)男士往外地游玩之冶游方式，遂指派初哥李中寧擔(dān)任此任務(wù)?！袄像R”黃光亮見(jiàn)自己未能得到此風(fēng)流任務(wù)，心感不忿。李中寧馬不停蹄遍游臺(tái)、日、法國(guó)等地風(fēng)月場(chǎng)所后向主編匯報(bào)，但主編認(rèn)為消費(fèi)太高，非一般讀者能負(fù)擔(dān)得起，李靈機(jī)一動(dòng)，想起澳門才是熱門“性”地……

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劇情簡(jiǎn)介

陳寶蓮為一雜志出版社主持人，為增加女性讀者人數(shù)，要開(kāi)辟一新專欄，揭開(kāi)男士往外地游玩之冶游方式，遂指派初哥李中寧擔(dān)任此任務(wù)。“老馬”黃光亮見(jiàn)自己未能得到此風(fēng)流任務(wù)，心感不忿。李中寧馬不停蹄遍游臺(tái)、日、法國(guó)等地風(fēng)月場(chǎng)所后向主編匯報(bào)，但主編認(rèn)為消費(fèi)太高，非一般讀者能負(fù)擔(dān)得起，李靈機(jī)一動(dòng)，想起澳門才是熱門“性”地……

導(dǎo)演精選

審判者1

　　攝影師王樹(shù)因一次“死亡拍攝”獲獎(jiǎng)并一舉成名，于此同時(shí)他也斷送了自己的攝影生涯。在輿論的審判下，沒(méi)有一家攝影公司愿意接納他，王樹(shù)不得不轉(zhuǎn)行維持生計(jì)，不想?yún)s變成了網(wǎng)絡(luò)爆紅的“審判者”，并陷入了一宗撲朔迷離的死亡綁架事件，踏上了“心靈審判”的漫漫長(zhǎng)路......

預(yù)見(jiàn)者

　　一項(xiàng)革命性的人類基因研究計(jì)劃，為預(yù)防疾病與犯罪帶來(lái)了莫大幫助，身為研究員的一份子，希歐多不但致力于生命的發(fā)展與延續(xù)，還有個(gè)能預(yù)知他人死亡的特殊能力。不過(guò)這次他的能力卻陰錯(cuò)陽(yáng)差害死了自己的女友安娜，內(nèi)疚不已的希歐多以悲傷度日，直到一個(gè)月過(guò)去，安娜竟又活生生地出現(xiàn)在他面前？

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