撞夠本 (1987)

? 2.8 播放：29萬 2026-04-22

　　亞龍（黑龍 飾）計劃到市區送貨，而小麗（愛婷 飾）則是第一次踏足市區，準備在這里享受一番。得到亞叔的同意后，小麗告別亞叔，搭乘上龍哥的貨車駛向市中心。一到達市區，亞龍需要處理一些買賣事務，于是他囑咐小麗在車旁等候，并約定兩個小時后再相會。 　　小麗被市區的繁華所吸引，四處張望，最終來到一家鞋店。然而，不幸的是，鞋店老板卻是一個不道德的人，用金錢引誘小麗脫衣，并最終與她發生了關系。令人憤慨的是，他還卷入了另外兩個人與小麗發生不正當關系的情況。當亞龍完成生意回來后，得知這一可恥的事情，感到非常憤怒。他下定決心要對那三個不法之徒進行報復。

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? 播放 撞夠本 (1987)

劇情提要

　　亞龍（黑龍 飾）計劃到市區送貨，而小麗（愛婷 飾）則是第一次踏足市區，準備在這里享受一番。得到亞叔的同意后，小麗告別亞叔，搭乘上龍哥的貨車駛向市中心。一到達市區，亞龍需要處理一些買賣事務，于是他囑咐小麗在車旁等候，并約定兩個小時后再相會。 　　小麗被市區的繁華所吸引，四處張望，最終來到一家鞋店。然而，不幸的是，鞋店老板卻是一個不道德的人，用金錢引誘小麗脫衣，并最終與她發生了關系。令人憤慨的是，他還卷入了另外兩個人與小麗發生不正當關系的情況。當亞龍完成生意回來后，得知這一可恥的事情，感到非常憤怒。他下定決心要對那三個不法之徒進行報復。

幕后花絮

春閨風月

 故事發生在車水馬龍的大都市紐約，杰瑞（加里·格蘭特 Cary Grant 飾）和露西（艾琳·鄧恩 Irene Dunne 飾）是一對感情十分要好的夫妻，兩人時常結伴出入上流人士所舉辦的高端晚宴之中，生活極盡奢華，但隨著時間的推移，這表面幸福的婚姻生活終究還是出現了裂痕，杰瑞和露西決定離婚。在兩人分開之后，杰瑞邂逅了富有而又美麗的遺孀芭芭拉（莫莉·拉蒙特 Molly Lamont 飾），露西則傍上了石油大亨丹尼爾（拉爾夫·貝拉米 Ralph Bellamy 飾），可尋找到了各自幸福的兩人卻并不能相安無事，正相反，他們開始想方設法的破壞和阻撓對方的情感關系，就此引出了一系列荒誕可笑的意外。

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