丽拉说

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

　　作家本·米尔斯回到他儿时的故乡——撒冷镇，为他的下一本书寻找灵感，却发现他的家乡正被一个嗜血的吸血鬼掠夺。

　　赤松德郎是个脚踏实地的小型运输公司老板，一直努力维持公司，然而某天他公司的货车发生轮胎飞脱导致年轻母亲死亡的事件，在警方和媒体都认为他是杀人凶手之时，赤松查出全国都出现类似的事故，全部都涉及大型汽车制造商「希望汽车公司」的汽车，于是赤松为了证明自己无罪讨回公道，只身挑战庞大企业。

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