白日夢(mèng)2025

　　立志成為漫畫(huà)家的高中生林明子，經(jīng)同學(xué)介紹來(lái)到一個(gè)奇怪的美術(shù)教室。這個(gè)教室沒(méi)有招牌也沒(méi)有宣傳，甚至在電話本上都查不到，只是一處坐落在海邊的小木屋。木屋主人是個(gè)手拿竹刀、身穿運(yùn)動(dòng)服的美術(shù)老師，名叫日高健三。他嚴(yán)厲無(wú)比，每次學(xué)生們畫(huà)畫(huà)懈怠的時(shí)候，他只有一句話：“去畫(huà)吧！”

本片改編自同名漫畫(huà)，講述了在充滿懷舊氣息的街道·九龍的不動(dòng)產(chǎn)公司工作的鯨井令子和她心儀的職場(chǎng)前輩·工藤發(fā)之間交織而成的懸疑愛(ài)情羅曼史。故事由令子偶然發(fā)現(xiàn)一張照片，得知工藤過(guò)去有個(gè)和自己長(zhǎng)得一模一樣的未婚妻開(kāi)始...

　　瑞奇·熱維斯宣布自己的最新個(gè)人單口喜劇 Mortality 將在2024年底開(kāi)始全球巡演。

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