剧情纵览
《赤裸蔷薇》,又叫《热情的夜》,素有波兰版《色戒》之称。影片描绘了东欧剧变历史背景下,奸细蔷薇崎岖的一身。当爱情卷进政治,男人是政治的东西,女性是政治的牺牲品。蔷薇被迫在两个男人之间挑选,是风流倜傥的教授仍是旧情人差人?影片结尾蔷薇将路在何方?
《赤裸蔷薇》,又叫《热情的夜》,素有波兰版《色戒》之称。影片描绘了东欧剧变历史背景下,奸细蔷薇崎岖的一身。当爱情卷进政治,男人是政治的东西,女性是政治的牺牲品。蔷薇被迫在两个男人之间挑选,是风流倜傥的教授仍是旧情人差人?影片结尾蔷薇将路在何方?
机械厂钳工莫得闲(肖战 饰)拖家带口随逃难队伍躲进山区,与被大部队遗忘的防空炮长肖衍(彭昱畅 饰)及手下在“戈止镇”落脚。然而,莫得闲和妻子夏橙(周依然 饰)、老太爷(杨新鸣 饰)以及儿子莫等闲(严知度 饰)的平静生活因为一小队日本侦察兵的意外到来被打破。全镇百姓不忍不退,拼死守护家园,一场民间智慧对抗正规武装的殊死较量轰然展开。
鲍威尔(安东尼•霍普金斯 Anthony Hopkins 饰)是一位专门研究黑猩猩的人类学家,他在卢旺达长期观察观察当地黑猩猩的活动。然而两年前,这位性情温和的学者突然性情大变,杀了两位当地的森林管理员以及伤害了多名管理员后神秘失踪。如今,他终于被逮捕归案,关押在美国高度戒严的精神病监狱。 年轻的精神病专家卡尔特(小库珀•古丁 Cuba Gooding 饰)意图揭开鲍威尔精神失常之谜而一举成名,于是他深入到监狱直接与鲍威尔进行对话。鲍威尔一开始对这位访客充满敌意,身为人类学家的他在卡尔特面前一点也不落下风。随着对话的逐渐深入,卡尔特渐渐了解到了事件真相:鲍威尔杀害的管理员其实是偷猎大猩猩的恶棍……
半年前,17岁的布兰特(Xavier Samuel 饰)与父亲驾车遭遇车祸,父亲身亡,布兰特和母亲始终没有从伤痛中走出。同校的劳拉(Robin McLeavy 饰)邀请布兰特同去舞会,布兰特木讷的予以拒绝,转头陪伴自己的女友赫莉。当天布兰特独身在野外攀岩,当他来到山顶时,久候多时的劳拉之父将他麻醉带走。 布兰特醒来时,发现自己被困在劳拉家中,这个看上去文静的微胖女孩居然利用自己的父亲将多位男孩绑架,父女二人残酷的虐待他们,最后用电钻把他们的头骨钻开变成嘶哑的痴呆。劳拉的母亲也不能免于折磨,她形容枯槁奄奄一息,被父女二人视为无物。面对这对关系暧昧的怪异父女,布兰特必须用尽一切办法自救……
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