孽海亲情

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

AUNTY当网红

幻嗅

Hilarion Zabala，一名前军士长，被一种奇怪的气味折磨着。诊断是幻觉，即嗅觉幻觉，他感知到的气味实际上并不存在。他的医生将此归因于过去的创伤，并建议他直面并回忆自己黑暗的服役期作为解决方案。扎巴拉愿意承担任何任务，自愿访问军事基地，最终被分配到一个偏远的岛屿流放地。然而，另一个可怕的现实在那里等待着他。从宗教流血到侵犯妇女人权，人类造成的各种形式的暴力在结构上和日常生活中仍然普遍存在。在暴力时代，如何实现正义和救赎？用于防止暴力的暴力行为是否有正当理由？深沉的痛苦通过沉思的黑白图像反映出来。（BOO Kyunghwan）

平原上的迷途

　　卡洛比安奇和多里亚诺是两个生活拮据的五十多岁男人，他们秉持着“绝不错过最后一杯酒”的人生哲学。在一次偶然的机会中，他们结识了朱利奥，一位性格内向、对人生感到迷茫的建筑学学生。这场看似不经意的邂逅，却逐渐演变成了一场穿越威尼斯平原的混乱公路旅行。　　在旅途中，糟糕的建议、宿醉的困扰以及意料之外的友情，不断挑战朱利奥对人生和爱情的原有计划。这场旅程不仅重新定义了他们彼此的生活，也让朱利奥开始重新思考自己的未来方向。