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6個月的車新婚的工會和優美。連續加班和聚餐疲憊的丈夫優美的工會需要回答吧。有一天,工會是萍水相逢的丈夫的朋友,也是他的公司老板的兒子間與嬰兒的行為。你知道的我們的憤怒,老板去自己家的老板的妻子要打自己的憤怒...
6個月的車新婚的工會和優美。連續加班和聚餐疲憊的丈夫優美的工會需要回答吧。有一天,工會是萍水相逢的丈夫的朋友,也是他的公司老板的兒子間與嬰兒的行為。你知道的我們的憤怒,老板去自己家的老板的妻子要打自己的憤怒...
故事背景設置在不遠的未來世界,在414區的人型機器人殖民地中,私家偵探大衛·卡邁克爾(皮爾斯飾)受雇于癡迷商業世界的財閥馬龍·維特(費米爾飾)去尋找后者叛逆的女兒。卡邁克爾需要與高度智能的機器人(魯茨飾)通力合作,而在這個過程中,關于414區和“機器人之城”起源的罪行也浮出了水面。
1978年,死亡峽谷。警官戴維?麥克阿里斯特(David Stanbra 飾)將殺人如麻、殘酷血腥的霧人(Ben Gunther 飾)繩之于法,這個作惡多端的噩夢最終死在毒氣室里。 時間回到現在,警長麥克阿里斯特(Robert Pine 飾)即將退休,他的兒子哈里斯(Michael Muhney 飾)則尾隨父親當上了警察。父子二人在六角餐館用餐時,遭遇了在逃的賭場搶劫犯。雙方展開對峙,年輕氣盛的哈里斯引起大爆炸,兩名劫匪劫持餐館女招待瑪雅(Mircea Monroe 飾)逃亡。在救援部隊遲遲未到之時,戴維帶著兒子展開謹慎的追蹤。不過令雙方始料未及的是,似乎有另一個神秘、恐怖的殺手將他們玩弄于鼓掌之中。邪惡的霧人精神不死,重返人間……
凌兆祥(王晶 飾)和妻子(夏文汐 飾)開開心心地搬進了新置的豪宅,準備享受全新的生活。盡管豪宅里怪象頻出,佛學專家許禪(莫少聰 飾)亦給予了凌兆祥警告,但沉浸在興奮中的凌兆祥并沒有將這一切放在眼里。 妻子懷孕住進了醫院,再度變回“單身漢”的凌兆祥怎么可能放過這次難能可貴的機會?他伙同損友歐公子(陳百祥 飾)和屈臣氏(曹查理 飾)外出狂歡,并且邂逅了美麗女子冰淇(關之琳 飾)。凌兆祥同冰淇一夜溫存,事后,對妻子心懷愧疚的凌兆祥決定斷絕同冰淇的往來,沒想到,不愿意放過他的,不僅僅是冰淇,還有冰淇身后那一干早已化作冤魂厲鬼的家人們。
Ay?e, 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