二宮ひかり – 裸神

一個(gè)搶劫喜劇電影，關(guān)于一群人的生活從手嘴一起作為一個(gè)團(tuán)隊(duì)的使命，從一個(gè)黑手黨債權(quán)人拿了中獎(jiǎng)的彩票不知道它贏得了3000萬(wàn)泰銖的獎(jiǎng)金回來(lái)!

　　小青年湯姆（伊恩·德·卡斯泰克 Iain De Caestecker 飾）致電有過(guò)一面之緣的女孩露西（愛(ài)麗絲·恩格勒特 Alice Englert 飾），邀請(qǐng)對(duì)方參加即將在愛(ài)爾蘭舉行的音樂(lè)節(jié)。湯姆處心積慮規(guī)劃行程，比音樂(lè)節(jié)預(yù)定提前一天到達(dá)目的地。他約女孩去網(wǎng)上預(yù)訂的基拉尼旅店留宿。筆直的公路無(wú)限延伸至遠(yuǎn)方，四周但見(jiàn)無(wú)垠曠野，陰冷荒涼，幾乎看不到一個(gè)人影。汽車在無(wú)聊和枯燥中行駛，天色慢慢暗了下來(lái)，而他們卻迷失方向，始終找不到目的地。隨著暮色降臨，恐慌在彼此心底升起，他們?cè)诿詫m一般的叢林里失去方向，曾經(jīng)輕浮曖昧的笑容不在?！　≡谄岷跁缫?，一名滿臉是血的男子突然出現(xiàn)在湯姆和露西面前。原本設(shè)想中美好的約會(huì)，注定變成萬(wàn)劫不復(fù)的噩夢(mèng)……

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

多年以后，蘇珊和她的兩個(gè)孩子意外地出現(xiàn)在她姐姐珍妮的家中。起初看起來(lái)像是蘇珊在試探性地試圖重新與姐姐建立關(guān)系。但隨著晨光的出現(xiàn)，這種幻覺(jué)破滅了：蘇珊消失了……內(nèi)森·安布羅西奧尼的這部親密電影，描繪了一位被迫成為母親的女人，而她對(duì)自己的孩子幾乎一無(wú)所知。他那極簡(jiǎn)主義的敘事方式，卻充滿了深刻的共情，讓觀眾得以觀察這個(gè)新生家庭逐漸凝聚的緩慢過(guò)程，以及他們內(nèi)心的恐懼與猶豫，還有那毫無(wú)效率的國(guó)家機(jī)器的荒謬之處。這是一部法國(guó)電影，它反映了因必要性而產(chǎn)生的共同生活本質(zhì)的脆弱性，以及當(dāng)它源于愛(ài)時(shí)，它會(huì)變得多么強(qiáng)大。