吉米與朱迪

　　Chosen Family sees Ann, a yoga teacher trying to find inner peace despite the fact her family is manic, and whose dating life is miserable. Ann doesn’t know how to say no and finds herself fixing everyone’s problems. Struggling to repair her estranged relationship with her sister Clio, Ann relies on her friends Roz, Max and Frances to be her rock and guide her through life’s troubling decisions.

　　劉雅歷（林子祥 飾）是一名廣告公司高層，但感情生活并不如意——女友碧姬（關(guān)之琳 飾）與他分手了。本來就沉默寡言的雅歷更加孤寂傷痛了，生活依舊刻板平凡。　　后來他在一個(gè)合唱團(tuán)里認(rèn)識(shí)了一位極有天分的女孩巫慧敏（周慧敏 飾），本來打算對(duì)她多加照顧培訓(xùn)，卻遭到慧敏母親朱麗娥（鄭裕玲 飾）的不滿，以為雅歷對(duì)自己年輕的女兒動(dòng)了歪念，兩人也因此成為了斗氣冤家。　　經(jīng)多次的交往之后，朱麗娥才發(fā)現(xiàn)自己誤會(huì)了雅歷，便對(duì)他完全改觀了，有困難的時(shí)候麗娥也主動(dòng)找雅歷幫忙。麗娥本來就是個(gè)離婚婦人，遇到了同樣感情空虛的雅歷，兩人之間很快便滋長了愛情。這時(shí)，雅歷的前女友碧姬卻回來要求復(fù)合……

　　大石剛介（三船敏郎 飾）升任關(guān)東同盟理事長，與中島組佐倉一誠（佐分利信 飾）勢(shì)均力敵，維持著表面的和平。但日本政界要員大山喜久夫（片岡千惠藏 飾）因癌癥病倒，幾乎再次點(diǎn)燃兩派戰(zhàn)火。大山幸得一宮恭夫（高橋悅史 飾）醫(yī)治死里逃生，因此號(hào)召幫派聯(lián)合，遭到兩派抵制。　　此時(shí)塞班島開發(fā)項(xiàng)目成為抗?fàn)幍膶?dǎo)火索。中島組干部川西（菅原文太 飾）為籌措資金，強(qiáng)令木村建設(shè)破產(chǎn)，并將木村之女獻(xiàn)給保守黨要員刈田（西村晃 飾）。另一方面，大石拉攏刈田的兒子春男入伙，作為特使赴塞班島向美國官員行賄。大山暗示佐倉除去大石，一場攪和了黑幫、政客、外國人的紛爭就此展開，而佐倉似乎也朝日本首領(lǐng)的目標(biāo)又邁進(jìn)了堅(jiān)實(shí)的一步……

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