劇情縱覽
勞拉因過去的虐待和失敗的親密邂逅而陷入困境, 掙扎著尋找一個(gè)愛人和一種正常的感覺。她的希望燈塔是在十六歲的伊娃, 一個(gè)天才的鋼琴家破滅了她的母親強(qiáng)加給她的生活。兩人之間形成了一種不太可能的關(guān)系, 伊娃成為了勞拉的癡迷。由于伊娃的不快, 勞拉說服她離家出走, 很快他們發(fā)現(xiàn)自己陷入了強(qiáng)烈的糾纏之中。操縱, 否認(rèn)和相互依存燃料最終成為一個(gè)斷裂的動(dòng)力, 只能維持自己這么久。
勞拉因過去的虐待和失敗的親密邂逅而陷入困境, 掙扎著尋找一個(gè)愛人和一種正常的感覺。她的希望燈塔是在十六歲的伊娃, 一個(gè)天才的鋼琴家破滅了她的母親強(qiáng)加給她的生活。兩人之間形成了一種不太可能的關(guān)系, 伊娃成為了勞拉的癡迷。由于伊娃的不快, 勞拉說服她離家出走, 很快他們發(fā)現(xiàn)自己陷入了強(qiáng)烈的糾纏之中。操縱, 否認(rèn)和相互依存燃料最終成為一個(gè)斷裂的動(dòng)力, 只能維持自己這么久。
《尸還魂》血性男子阿良發(fā)現(xiàn)女友桂兒和另一個(gè)男人波蘇搞在一起,憤怒的阿良駕駛機(jī)車追趕,結(jié)果不慎車禍身亡。葬禮的第三天,平日的狐朋狗友悉數(shù)到場(chǎng),連桂兒和波蘇也到場(chǎng)上香,而靈異事件也突然發(fā)生。在此之后,眾人尋找阿良丟失的手機(jī),阿良的鬼影卻接連出現(xiàn);《獻(xiàn)陰琴》某女子教會(huì)學(xué)校,傳說曾有一個(gè)為情而死的修女,她死后變成無頭女鬼,在夜晚彈著動(dòng)聽的鋼琴。而如果虔誠(chéng)地向他許愿,很快就會(huì)夢(mèng)想成真。但是這也伴隨著可怕的危險(xiǎn)。充滿嫉妒和愛欲的女孩,為情涉入險(xiǎn)地;《祭紙?jiān)芳堅(jiān)昀习宓睦掀胖橹橥庥鰵w來,對(duì)老公大獻(xiàn)殷勤。常被欺負(fù)的小伙計(jì)阿默剛好從網(wǎng)上發(fā)現(xiàn)一則車禍消息,而這個(gè)消息讓他大為震驚!恐怖不眠夜,陰雨連綿。
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
本片以主人公大衛(wèi)·布萊恩架車游歷美國(guó)得克薩斯州過程中所見所聞為主線,透過一個(gè)個(gè)具有鮮明個(gè)性的小人物及發(fā)生在他們身上的故事,展示了當(dāng)?shù)厝藢?duì)于生活和愛情的獨(dú)特理解。該片值得稱道的是將歌舞與寫實(shí)完美結(jié)合,大量旋律優(yōu)美的鄉(xiāng)村民謠,歌曲成為片中最耀眼的亮點(diǎn),也是導(dǎo)演大衛(wèi)·布萊恩對(duì)電影藝術(shù)的創(chuàng)新之舉,是一次成功的探索。
只是一場(chǎng)意外,卻又超乎意外。駕車撞死一條狗,男子與妻女來到陌生車房。憑其義肢走動(dòng)時(shí)的聲響,車房工認(rèn)出司機(jī)或是當(dāng)年施酷刑的獄吏。仇人送上門,雪恨更待何時(shí)。然而,獄中受折磨時(shí)雙眼被蒙,嫌疑犯是行刑者確實(shí)無誤?從早到晚奔波一輪,找來幾個(gè)獄友確認(rèn)俘虜身份,痛苦回憶涌上心頭。在無 垠沙漠等待把他活埋私了,有若在人性荒原等待果陀,替天行道又是否問心無愧?以懸疑驚栗布局,暗黑寫實(shí)的人物故事來自巴納希獄中親見親聞,將苛政、濫權(quán)、以暴易暴一一置于道德倫理的天秤上,丈量人性輕重;悲憤中不失幽默,連消帶打貪污賄賂之風(fēng)。一面金棕櫚獎(jiǎng),絕非意外。