剧情纵览
優良和阿真結婚已經有一段時間了。有一天,阿真在街上等妻子時,巧遇高中時代的同學詩織和她的另一半,原來詩織是阿真的初戀情人,兩對戀人聊了一陣子之後,詩織趁大家不為意,偷偷地把一張紙條塞到阿真的口袋裡,字條是約他外出,兩人各懷有一種久違的再會,阿真找借口出去會詩織,約會後準備離開時,
優良和阿真結婚已經有一段時間了。有一天,阿真在街上等妻子時,巧遇高中時代的同學詩織和她的另一半,原來詩織是阿真的初戀情人,兩對戀人聊了一陣子之後,詩織趁大家不為意,偷偷地把一張紙條塞到阿真的口袋裡,字條是約他外出,兩人各懷有一種久違的再會,阿真找借口出去會詩織,約會後準備離開時,
優良和阿真結婚已經有一段時間了。有一天,阿真在街上等妻子時,巧遇高中時代的同學詩織和她的另一半,原來詩織是阿真的初戀情人,兩對戀人聊了一陣子之後,詩織趁大家不為意,偷偷地把一張紙條塞到阿真的口袋裡,字條是約他外出,兩人各懷有一種久違的再會,阿真找借口出去會詩織,約會後準備離開時,
25年前,高中生任娜美(沈恩京 饰)一家从全罗道搬到汉城,娜美入读真德女子高中,因方言浓重怯于开口的娜美幸运的得到了同班大姐头夏春花(姜索拉 饰)的维护,并与围绕在夏春花周围的执着于双眼皮的金玫瑰、满嘴脏话的黄珍熙、梦想成为作家的徐金玉、要成为韩国小姐的俞福姬以及沉默傲慢的美人郑秀智等五人结识。在一次和不良少女团对决之后,春花和娜美等七人组成了“Sunny”团体……多年以后,家庭主妇娜美在去医院探望母亲时偶然重逢了身患绝症住院的春花,后者希望在生命的最后两个月内,能够再见当年的Sunny成员。娜美找到金玫瑰,两人委托私家侦探寻找当年的同伴,而那些关于青春的回忆,也在一个个熟悉的名姓后面再次被唤醒。
两位壮汉刑警在调查一起银行劫案时,发现犯罪分子居然个个刀枪不入。根据线索,他们找到一家公司,似乎最近的很多案件都和这家公司的一个秘密实验室有关。后来,此两位硬汉在与犯罪分子的斗争中不幸相继殉职,但这恰好给他们创造了机会——两个人亦成为试验品,他们的尸体即将被一个怀揣着极大阴谋的邪恶博士所利用……然而,哼哼,英勇的人民公安是不会向犯罪集团低头的,you can't keep a good cop dead!
一天清晨,刑警惊觉自己的搭档失去了音讯。事实上,搭档在夜晚返家的途中,意外目睹一起犯罪行为。不料现场突然发生提款机爆炸,她身受重伤,随即被犯人绑走。
Ayşe, 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