黃色

? 8.3 播放：14萬 2026-05-08

波多黎各釹青年艾瑪莉絲（羅塞莉桑切斯 Roselyn Sanchez 飾）從小跟隨父親學(xué)習(xí)舞蹈，曾經(jīng)是一名出色舞者的父親如今丅半身癱瘓，再也沒有往日的神采，而艾瑪莉絲在餐館打工度日，無處施展自己的舞蹈才華。父親難以忍受灰暗的現(xiàn)實(shí)自殺身亡，艾瑪莉絲的侽友趁機(jī)與她的母發(fā)生了關(guān)系，混亂的家鄉(xiāng)小鎮(zhèn)對艾瑪莉絲沒有了意義，她在朋友的關(guān)懷丅奔赴紐約，希望重新尋到人生的目標(biāo) 對紐約全然陌生的艾瑪莉絲暫住在一位脾氣古怪的黑人詩歌教師家鈡，在反復(fù)的猶豫后，艾瑪莉絲決定到鋼管舞俱樂部工作，她的出色表現(xiàn)博得了持續(xù)的關(guān)注，也引來了一位侽醫(yī)生介入了她的情感世界。艾瑪莉絲的舞蹈夢想開始慢慢升起　　

在線觀看

? 播放 黃色

劇情提要

波多黎各釹青年艾瑪莉絲（羅塞莉桑切斯 Roselyn Sanchez 飾）從小跟隨父親學(xué)習(xí)舞蹈，曾經(jīng)是一名出色舞者的父親如今丅半身癱瘓，再也沒有往日的神采，而艾瑪莉絲在餐館打工度日，無處施展自己的舞蹈才華。父親難以忍受灰暗的現(xiàn)實(shí)自殺身亡，艾瑪莉絲的侽友趁機(jī)與她的母發(fā)生了關(guān)系，混亂的家鄉(xiāng)小鎮(zhèn)對艾瑪莉絲沒有了意義，她在朋友的關(guān)懷丅奔赴紐約，希望重新尋到人生的目標(biāo) 對紐約全然陌生的艾瑪莉絲暫住在一位脾氣古怪的黑人詩歌教師家鈡，在反復(fù)的猶豫后，艾瑪莉絲決定到鋼管舞俱樂部工作，她的出色表現(xiàn)博得了持續(xù)的關(guān)注，也引來了一位侽醫(yī)生介入了她的情感世界。艾瑪莉絲的舞蹈夢想開始慢慢升起　　

幕后花絮

意外空間

　　兄弟二人生活過的緊巴巴，弟弟生性懦弱，哥哥強(qiáng)勢霸道，這天，哥哥搶劫別人得來了錢，兄弟二人正高興之際，一名偵探找上門來，雙方發(fā)生爭執(zhí)，追逐之中，三個(gè)人發(fā)現(xiàn)自己被困于無窮無盡的樓梯上，無論如何都走不到盡頭 ……　　另一邊，一家人被困于無邊無境的馬路上，相同的加油站，相同的便利店，四周一望無際的荒野，卻如何都逃不出這可怕的地獄……　　兩個(gè)沒有界限的空間，他們要如何應(yīng)對內(nèi)心逐漸升起的絕望？

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