轻井泽夫人 軽井沢夫人 (1982)

★ 7.7 播放:64万 更新:2026-04-29

大学生紫藤纯一(五代高之 饰)怀揣着一颗渴望跻身上流社会的心,决定利用假期到轻井泽的高级餐馆打工。然而,他的计划很快受到了意外的干扰。作为服务员,紫藤被派往中川总业的社长中川玄一郎(土屋嘉男 饰)的别墅担任服务员。在那里,他不仅一见钟情于社长夫人佳子(高田美和 饰),还不慎失手滑落了餐盘,招致了中川的责备。幸运的是,佳子站出来为他辩护。第二天,紫藤偶然遇到了佳子带着儿子有一(伊藤将人 饰)的情景。得知佳子离开了包养情人的中川,过着孤独的生活后,紫藤感到同情之情油然而生。为了帮助紫藤,佳子决定请他做家庭教师,为他提供了一个更好的进阶机会。 然而,随着时间的推移,紫藤与佳子之间的感情日渐升温,却也引来了更多的麻烦。佳子的外甥女亚矢和她的恋人雅和盯上了紫藤,并想利用他来逃避警方和仇家的追踪。在一连串的事件中,紫藤和亚矢被迫面对着严峻的处境,为了逃避法律的制裁,他们不得不驾车逃亡。然而,不幸的是,在途中他们与高速行驶的列车相撞,双双身亡。得知紫藤的死讯后,佳子心情沉重地前往遗体安置所。在那里,她得知了紫藤并非杀害了雅和的真凶,内心充满了复杂的情感。夏天即将结束,但这段不可思议的经历却永远地留在了她的记忆中。

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剧情简介

大学生紫藤纯一(五代高之 饰)怀揣着一颗渴望跻身上流社会的心,决定利用假期到轻井泽的高级餐馆打工。然而,他的计划很快受到了意外的干扰。作为服务员,紫藤被派往中川总业的社长中川玄一郎(土屋嘉男 饰)的别墅担任服务员。在那里,他不仅一见钟情于社长夫人佳子(高田美和 饰),还不慎失手滑落了餐盘,招致了中川的责备。幸运的是,佳子站出来为他辩护。第二天,紫藤偶然遇到了佳子带着儿子有一(伊藤将人 饰)的情景。得知佳子离开了包养情人的中川,过着孤独的生活后,紫藤感到同情之情油然而生。为了帮助紫藤,佳子决定请他做家庭教师,为他提供了一个更好的进阶机会。 然而,随着时间的推移,紫藤与佳子之间的感情日渐升温,却也引来了更多的麻烦。佳子的外甥女亚矢和她的恋人雅和盯上了紫藤,并想利用他来逃避警方和仇家的追踪。在一连串的事件中,紫藤和亚矢被迫面对着严峻的处境,为了逃避法律的制裁,他们不得不驾车逃亡。然而,不幸的是,在途中他们与高速行驶的列车相撞,双双身亡。得知紫藤的死讯后,佳子心情沉重地前往遗体安置所。在那里,她得知了紫藤并非杀害了雅和的真凶,内心充满了复杂的情感。夏天即将结束,但这段不可思议的经历却永远地留在了她的记忆中。

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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