偷情男女

　　這是一部關(guān)于股票交易的影片，處處流露著金錢(qián)和欲望，一個(gè)草根鳳凰男逆襲的故事。男主出生并成長(zhǎng)在印度的一個(gè)小山村里。男主一心夢(mèng)想前往孟買(mǎi)，去為自己的偶像（一位金融大鱷）去打工。金融大鱷亦是貧寒出身但卻成功逆襲的典范。男一號(hào)發(fā)誓要成為像該金融大鱷一樣的成功男士。男一號(hào)憑借自己 的努力和對(duì)機(jī)遇的掌控，在一年時(shí)間內(nèi)，成為該金融大鱷最得力的助手。一時(shí)間，賓利，私人飛機(jī)，游艇都已是囊中之物；順便，男一號(hào)再抱得美人歸。然而，一切的成功都來(lái)的太突然。男一號(hào)殊不知自己只不過(guò)是金融大鱷的傀儡。而漂亮的女友也只不過(guò)是金融大鱷的情婦而已。擺在男一號(hào)面前有兩條路。是接受金融大鱷所給的上億支票繼續(xù)為奴，還是推倒金融大鱷，自己徹底翻身？

　　高中三年級(jí)學(xué)生朝倉(cāng)曉生是個(gè)車(chē)迷，這天他在車(chē)行里發(fā)現(xiàn)了一輛深藍(lán)色的日產(chǎn)FairladyS30Z。這正是傳說(shuō)中的“惡魔Z”，號(hào)稱(chēng)速度最快的改裝車(chē)。據(jù)說(shuō)“惡魔Z”仿佛有著自己的意志，能夠根據(jù)情況做出反應(yīng)，它的高速令人生畏，卻又深深地吸引著追求速度之夢(mèng)的人們?！皭耗”曾經(jīng)的擁有者都出了事故，這輛車(chē)在世上銷(xiāo)聲匿跡了一陣，竟然又出現(xiàn)了。曉生迷上了“惡魔Z”，為之投入了全副精力，試圖去完全掌控它。　　繪梨子的哥哥晶夫也因?yàn)椤皭耗”而死，繪梨子非常討厭這輛車(chē)，反對(duì)讓它復(fù)活。然而曉生的熱情感染了她，她在曉生身上看到了哥哥的影子，漸漸地開(kāi)始支持他?！　±L梨子的男朋友島達(dá)也曾經(jīng)是晶夫的賽車(chē)朋友，他認(rèn)為應(yīng)該把“惡魔Z”銷(xiāo)毀，阻止再有人犧牲。達(dá)也將愛(ài)車(chē)黑色保時(shí)捷911重新改裝，向曉生發(fā)出了戰(zhàn)書(shū)?！　耗與黑鳥(niǎo)的對(duì)決拉開(kāi)了序幕……

故事圍繞的士司機(jī)宇佐美浩二（木村拓哉 飾）展開(kāi)，他每日奔波于都市間工作養(yǎng)家，卻因女兒的學(xué)費(fèi)、的士驗(yàn)車(chē)費(fèi)、房屋租金等接踵而至的現(xiàn)實(shí)壓力而身心俱疲。某日，浩二接到一項(xiàng)特別的委托——接載年邁的高野堇女士（倍賞千惠子 飾）從東京柴又前往神奈川葉山的養(yǎng)老院。“在離開(kāi)東京之前，想先到幾個(gè)想去的地方看看”，堇女士淡然請(qǐng)求。隨著的士駛過(guò)日本的大街小巷，陌生的兩人逐漸打開(kāi)心扉，堇女士也徐徐道出自己跌宕的人生過(guò)往。這趟偶然的旅程，不僅觸動(dòng)了他們的心靈，也讓二人在平凡的日子中，為彼此的人生留下難忘的美好印記。

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