剧情纵览
影片从从彼乔恩回家开始,在彼乔恩回家结束。在这个过程中他和另外两个孩子史登和穆勒经历的成人难以理解的创痛。电影中的三个孩子最终都爆发出自己的暴力因子,多少都是家庭的漠不关心。影片探讨的是青少年跟家长之间存在难以沟通的局面,这种局面可能会导致他们走向不可挽回的地步。在电影中,三个孩子似乎已经被他们的似水流年给淹没了。影片让人想起施隆多夫的电影《青年特尔斯勒》,也是关于三个学生的暴力与思考。
影片从从彼乔恩回家开始,在彼乔恩回家结束。在这个过程中他和另外两个孩子史登和穆勒经历的成人难以理解的创痛。电影中的三个孩子最终都爆发出自己的暴力因子,多少都是家庭的漠不关心。影片探讨的是青少年跟家长之间存在难以沟通的局面,这种局面可能会导致他们走向不可挽回的地步。在电影中,三个孩子似乎已经被他们的似水流年给淹没了。影片让人想起施隆多夫的电影《青年特尔斯勒》,也是关于三个学生的暴力与思考。
父亲的突然去世让汤米(安东·尤金 Anton Yelchin 饰)一家人陷入了混乱,家庭无人照料一片狼藉,母亲终日哭泣郁郁寡欢,就在这样一种糟糕的情况下,汤米迎来了自己躁动又不安的青春,无处发泄的他只能通过调皮捣蛋来纾解心中的积怨。辍学后的汤米在一家熟食店打工,负责送货。 汤米和朋友帕鲁帕斯(罗宾·威廉斯 Robin Williams 饰)成天厮混在一起,帕鲁帕斯是一个外表成熟但心智幼稚的“大龄儿童”,两人之间的感情真挚又深厚。一次意外中,汤米结识了妓女蕾蒂(Erykah Badu 饰),后者带领他进入了成年人的世界,享受了爱情的甜蜜与苦涩。一场意外的发生摧毁了汤米自由的生活,它不仅终结了汤米的现在,也波及到了他的未来。
故事发生在2008年北京奥运会前夕,参加过朝鲜战争的退伍老兵张大川(杨新鸣 饰),与儿子一家生活在中国南方的一个小镇上,虽然同住一个屋檐下但关系并不亲密。一天,大川接到老战友去世的电话,于是他决定独自前往北京,参加战友的葬礼。这个计划,被正值青春叛逆期的孙子小松(胡昌霖 饰)发现,小松恳求和威胁爷爷带他一起去。争执之后,从未单独出过远门的祖孙俩上路了.......
讲述因为楼层噪音相遇的两对夫妻一起吃晚饭发生的故事。
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