劇情縱覽
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由于他們的父親處于昏迷狀態(tài),護(hù)士Seon-young敦促她的兄弟Il-hoe舉辦一場(chǎng)假葬禮,因?yàn)樗?fù)擔(dān)不起兒子的學(xué)費(fèi),有可能看到他錯(cuò)過大學(xué)。他們偽造死亡證明并欺騙醫(yī)院,但隨著壓力的增加,他們的計(jì)劃開始以意想不到的方式瓦解。
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
威尼斯的地平線單元中,出現(xiàn)了這樣一部電影,不扯人性,“三觀”卻正到讓人大呼過癮,這就是講述了一個(gè)干脆利落的復(fù)仇故事的西班牙電影《遲來的憤怒》。 影片講述了一個(gè)男人為了替在搶劫案中慘死的女友和變成植物人的老爸報(bào)仇,潛伏八年,甚至睡了搶劫團(tuán)伙司機(jī)的孩子他媽,只為等他出獄,威脅他,順藤摸瓜找到躲藏起來的真兇們,一個(gè)一個(gè)復(fù)仇。
女孩從小被殺手家族囚禁撫養(yǎng),只因她擁有罕見的血型,成為各方勢(shì)力覬覦的“移動(dòng)血庫”。當(dāng)宿敵卷土重來,她被迫與家族里守護(hù)她的殺手聯(lián)手,打破囚籠,在槍林彈雨中為自己的生存殺出一條血路,也在并肩作戰(zhàn)中,確認(rèn)了兩人之間早已滋生的愛情。