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剧情简介
2014年最新韩国性喜剧影片，内容讲述韩国某高校一名风流教授和女学生的故事
同类好片
把哥哥带走
柴崎幸,小田切让,满岛光,青山姫乃,味元耀大,齐藤阳一郎,岩濑亮,浦井のりひろ,足立智充,村川绘梨,不破万作,吹越满灵菁传
胡悦,龚小钧,孟璐,何聪睿,吴骁栩,曾语乔坐白车的女人
郑丽媛超级士兵
约翰·亚伯拉罕,杰奎琳·费南德斯,拉库尔·普雷特·辛格战争艺术家
埃米尔·赫斯基,因巴尔·拉维,伊安·蒂阿尔,亚当·切赫曼,Edward Foy,Chris Cope,乔希·布莱克,乔什·祖克曼,尤金·里皮斯基,达里亚斯·布莱克,Pam Kearns,Tori Griffith,Brad Abramenko,迈克尔·本耶尔,Boris Bilic,马特·布朗,Reid Anthony Cronin,阿亚斯·达尔曼,Rebecca Dykstra,Craig Erickson普通事故
瓦希德·穆巴谢里,玛丽亚姆·阿夫沙里,艾卜拉希姆·阿兹兹,哈迪斯·帕克巴滕,马吉德·帕纳西,穆罕默德·阿里·艾利亚斯梅尔,德尔玛兹·纳加菲,阿菲桑内·纳姆巴蒂,乔治·哈什姆扎德,莉安娜·阿兹兹菲导演精选
审判者1
摄影师王树因一次“死亡拍摄”获奖并一举成名，于此同时他也断送了自己的摄影生涯。在舆论的审判下，没有一家摄影公司愿意接纳他，王树不得不转行维持生计，不想却变成了网络爆红的“审判者”，并陷入了一宗扑朔迷离的死亡绑架事件，踏上了“心灵审判”的漫漫长路......
终端
在這個神祕又黑暗的城市裡，犯罪，只是家常便飯。被絕症折磨的教師比爾（賽門佩吉飾演）試圖自我了斷，但始終想死卻死不成。某日，比爾在深夜的咖啡廳裡結識了美豔金髮女服務生安妮（瑪格羅比飾演）。兩人竟因為「如何成功自殺」這話題而打開話匣子，培養出一段詭異友誼…。而在城市的另一角落，兩位正在執行危險任務的殺手（麥斯艾朗、戴克斯特佛萊契飾演），為了獲得高額賞金在城市之間來回奔走，急切想要找到暗殺目標的線索…。 然而夜班警衛（麥克邁爾斯飾演）的出現，竟意外牽起這兩組貌似毫無關聯的人物。隨著一樁又一樁的犯罪事件發生，也逐漸揭露出眾人的神秘過去，以及交織而成的愛恨情仇。最終，他們發現自己全被捲入一場錯綜複雜的犯罪大計。究竟他們能否找出事實真相？而事件背後的神秘主謀又是誰呢？
好像一切都很糟糕
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