剧情纵览
网友求片;男主角(罗伯特;霍夫曼)和他的女友正在散步的一个荒芜的海滩,当他们发现一具女尸撒谎。再仔细一看,证明她还活着。第二天,基督徒再次遇见她在一个游艇派对,他们坠入爱河。后来在附近的汽车旅馆,奇怪的事情发生了,他们准备上床睡觉起来:在入侵者休息,并开始殴打基督徒谁不小心射击他用他自己的枪。几个小时后,他们发现,尸体失踪,一系列怪异事件的发生
网友求片;男主角(罗伯特;霍夫曼)和他的女友正在散步的一个荒芜的海滩,当他们发现一具女尸撒谎。再仔细一看,证明她还活着。第二天,基督徒再次遇见她在一个游艇派对,他们坠入爱河。后来在附近的汽车旅馆,奇怪的事情发生了,他们准备上床睡觉起来:在入侵者休息,并开始殴打基督徒谁不小心射击他用他自己的枪。几个小时后,他们发现,尸体失踪,一系列怪异事件的发生
一位父亲刑满释放后,试图通过带女儿参观大学校园来修复父女关系。然而,当一个凶残的邪教开始追杀他们时,两人所要拼命守护的,早已不只是那段早已破碎的亲情。
威尼斯的地平线单元中,出现了这样一部电影,不扯人性,“三观”却正到让人大呼过瘾,这就是讲述了一个干脆利落的复仇故事的西班牙电影《迟来的愤怒》。 影片讲述了一个男人为了替在抢劫案中惨死的女友和变成植物人的老爸报仇,潜伏八年,甚至睡了抢劫团伙司机的孩子他妈,只为等他出狱,威胁他,顺藤摸瓜找到躲藏起来的真凶们,一个一个复仇。
畅斯(彼得·塞勒斯 Peter Sellers饰),一位头脑简单的老园丁。他一直生活在华盛顿的一间老房子里,从未离开过。他全部的生活就是看电视,看电视成了他唯一与外界沟通的途径。在长期的累积之下,他的整个思想行为和世界观已完全电视化。然而他的雇主突然去世,畅斯一下子变得无处可去,孤苦无依。面对陌生而又新鲜的世界,他顿时乱了方寸。在一场突如其来的车祸后,畅斯居然成为富有的华盛顿商人伊芙(雪莉·麦克雷恩 Shirley MacLaine饰)和本(茂文·道格拉斯 Melvyn Douglas饰)的座上宾。他凭借在电视上学来的“广博”知识,技惊四座,甚至当上了政客们倚重的智囊。本部享誉70年代末期影坛的政治讽刺喜剧《富贵逼人来》,是笑匠彼得·塞勒斯的最后遗作。本片荣获1980年第52届奥斯卡金像奖最佳男配角并获得最佳男主角提名,入围1980年第33届戛纳电影节主竞赛单元-金棕榈奖。
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