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剧情提要
我转弯了吗?重新进入韩国? Sehee (太阳慧) 谁采取了三年的存款, 在每日例行的答案, 并留下了一个背包在宿务, 菲律宾。 三喜, 谁在当地流浪, 会见了韩国东 A (桑宇), 和三喜谁感到迷恋在同一数量的巧合几次, 并花了一个晚上与东部。 但是那些在韩国犯下犯罪细节的犯罪分子逃脱了。 最后, 三熙面临着一个尚未不可逆转的局面, 尽管该计划将用于从东方赚钱。 另一方面, 同一天, 同三熙一样, 正偷偷接近一蜜月, 在米兰 (公园居斌) 策划另一项犯罪.....。
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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