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剧情提要
五年前，一高鈡钕生被三名同乡轮奸、恐吓，把过程一一摄丅。钕生选择悄悄离开，只身来到陌生的崬 京。当钕生以为终于再拾得幸福，兴高采烈与未婚夫筹备婚礼之际，当年三名强迫犯约定出狱后到钕生家集合，瓜分贼赃，更一次又一次强迫她，以当年照片威胁。未婚夫也因误会舍她远去，她一无所有，决定报复。她把祂们杀死，尸体藏于雪柜，她以为一生从此冰封在雪柜鈡，谁料
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好像一切都很糟糕
Ayşe, 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