莉莉安娜小姐和安妮特小姐

探索現(xiàn)代浪漫的起起落落。

　　亞歷斯和莎瑪是一對年輕戀人，他們于前往波斯尼亞與赫塞哥維納中心時(shí)車子拋錨在森林里，他們決定向附近的村莊求援。路上，巴爾干戰(zhàn)亂的穆斯林幸存者莎瑪，開始懷疑有神秘力量追高清在跟著他們，而自信、快樂的年輕歐洲人亞歷斯，試圖讓莎瑪甩開這些胡思亂想；但莎瑪緊握著她的穆斯林護(hù)身符「哈麥利亞」不放，導(dǎo)致神秘力量從森林里逐漸浮現(xiàn)…

　　一天欣欣來到一家古董店，連呼數(shù)聲有人么，不見有人回應(yīng)，偌大的古董店空無一人。由于好奇心的驅(qū)使欣欣不管三七二十一自娛欣賞起來，不斷的被眼前的物品所震懾所陶醉，就在此時(shí)突然有一人出現(xiàn)，嚇了欣欣一跳。此人行徑古里古怪，不過欣欣也沒有放在心上，欣欣與其交談數(shù)據(jù)之后又繼續(xù)欣賞起古董來，然而奇怪的事情就在此時(shí)悄然發(fā)生了……

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