鵝毛筆 Quills

? 5.4 播放：64萬(wàn) 2026-05-11

薩德（喬弗瑞•拉什Geoffrey Rush飾）是19世紀(jì)的法國(guó)作家。他才高八斗，崇尚言論自由，小說(shuō)中有不少情色描寫。這些作品激怒了法國(guó)當(dāng)局，政府把他關(guān)入瘋?cè)嗽?，然而，專制的枷鎖只令到薩德更堅(jiān)定地奮筆疾書(shū)，作品在瘋?cè)嗽豪镆徊恳徊康恼Q生。 瘋?cè)嗽旱闹鞴苁且粋€(gè)開(kāi)明的年輕神父。他也讀薩德的小說(shuō)，對(duì)薩德的才華和精神充滿欣賞。他對(duì)薩德提供優(yōu)厚的生活條件，讓他專心寫作，同時(shí)讓洗衣女梅德林（凱特•溫斯萊特Kate Winslet飾）幫助薩德，把他的作品帶到外面出版。梅德林與薩德之間也暗生情愫。 然而，強(qiáng)大的國(guó)家機(jī)器還是將薩德送上了絞刑架。政府容忍不了他“傷風(fēng)敗俗”，但他的作品卻流傳了下來(lái)，開(kāi)啟了民眾的思想。

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劇情提要

薩德（喬弗瑞•拉什Geoffrey Rush飾）是19世紀(jì)的法國(guó)作家。他才高八斗，崇尚言論自由，小說(shuō)中有不少情色描寫。這些作品激怒了法國(guó)當(dāng)局，政府把他關(guān)入瘋?cè)嗽?，然而，專制的枷鎖只令到薩德更堅(jiān)定地奮筆疾書(shū)，作品在瘋?cè)嗽豪镆徊恳徊康恼Q生。 瘋?cè)嗽旱闹鞴苁且粋€(gè)開(kāi)明的年輕神父。他也讀薩德的小說(shuō)，對(duì)薩德的才華和精神充滿欣賞。他對(duì)薩德提供優(yōu)厚的生活條件，讓他專心寫作，同時(shí)讓洗衣女梅德林（凱特•溫斯萊特Kate Winslet飾）幫助薩德，把他的作品帶到外面出版。梅德林與薩德之間也暗生情愫。 然而，強(qiáng)大的國(guó)家機(jī)器還是將薩德送上了絞刑架。政府容忍不了他“傷風(fēng)敗俗”，但他的作品卻流傳了下來(lái)，開(kāi)啟了民眾的思想。

幕后花絮

送葬人2023

　　講述一名法學(xué)院畢業(yè)生喬德回到家鄉(xiāng)準(zhǔn)備司法考試，但做殯葬業(yè)的父親卻生病了，怕鬼的他只好硬著頭皮協(xié)助家業(yè)。而錫安因?yàn)闊o(wú)法接受前女友的死亡，想方設(shè)法希望能再跟她見(jiàn)上一面，因此來(lái)幫喬德的忙。究竟在這個(gè)生與死交會(huì)的地方，他們會(huì)遇見(jiàn)什么樣的故事呢？

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