把她全都脫掉，讓她錯過末班車的女前輩

　　過氣頂流也有逆襲夢！曾經的男神豬豬爆竟淪落到以送外賣為生？！一次偶然之下，他獲得了擔任電影男主的機會，但這個劇組并不“簡單”，為豬豬爆的男主之路埋下重重關卡。面對N重考驗，他能否逆襲成功？

在達拉斯的輕奢商場，自由伊甸門店的銷售顧問蘋果、櫻桃與無花果，表面是光鮮亮麗的時尚女性，私下卻在商場地下室運營著秘密邪教，以詭異儀式維系著扭曲的“姐妹情誼”。新員工南瓜的到來打破了三人的平衡，她的質疑與審視，迫使成員們直面內心的陰暗面，邪教儀式逐漸失控，血腥與暴力開始蔓延，每個人都必須在自我毀滅與殘酷結局之間做出選擇。

　　一位內向的俄羅斯父親和十幾歲的女兒住在一輛面包車里。面包車裝著他們的全部生活，包括一套電影放映設備。那是他們微薄收入的來源。這對無名的父女從南到北，在他們廣闊國家的極端氣候中漫游。

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