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劇情提要
他現(xiàn)在的繼母是父親帶來的長子,尚宇的初戀。一天,父親出差,尚宇、弟弟奉洙和繼母留在家裏。奉洙打電話給他的女朋友在他們家做愛,相宇用他的初戀卡去按摩室。
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基卡2025
伴侶猝然離世,39歲的社工琪卡驚覺腹中孕育著新生命。盡管處境艱難,這個獨自面對命運的女人仍決定留下孩子,用柔弱的肩膀扛起守護家庭的重量——在支離破碎的生活里,為未出世的生命筑起體面的避風(fēng)港。
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