百惠之唇:愛獸

一名男子在郊區(qū)一間空蕩蕩的房子里醒來，沒有記憶，手臂上沾著血跡。當(dāng)他瘋狂地洗掉血跡時(shí)，他發(fā)現(xiàn)那不是他的。他在房子周圍發(fā)現(xiàn)了一些便利貼，上面寫著:“不要呆在這個(gè)房間里。”“別出去?！薄皠e下樓?！彼械嚼Щ?，試圖追蹤這些神秘的信息，最終發(fā)現(xiàn)了兩件事。他與母親和女兒的記憶有某種聯(lián)系，還有住在這所郊區(qū)房子里的惡魔。當(dāng)他越來越接近解開他為什么在那里的謎團(tuán)時(shí)，惡魔變得越來越強(qiáng)大，考驗(yàn)著他的生存意志。

 本片是同一故事第三度重拍的版本。此片將好萊塢的背景改成今日的搖滾樂壇，男主角原是著名的搖滾樂歌手，而女主角則在小型夜總會賣藝。影片中有不少熱門插曲，部分片段的鏡頭和表演都不俗，但整體則顯得有點(diǎn)矯揉造作，角色欠缺真正的生命感，不過娛樂性還是維持相當(dāng)水準(zhǔn)。本片曾獲奧斯卡最佳電影插曲金像獎(jiǎng)。

　　圣誕前夜，雖然家人熱切地期盼，但美麗干練的女律師安吉拉（瑞秋·尼科爾斯Rachel Nichols 飾）仍在辦公室努力工作，進(jìn)行最后的沖刺。繁冗的工作終至尾聲，安吉拉獨(dú)自下到地下車庫，準(zhǔn)備驅(qū)車回家。不過她的車無論如何也發(fā)動(dòng)不了，車庫電梯門也被鎖住，于是她只好向保安托馬斯（韋斯·本特利 Wes Bentley 飾）求助。托馬斯友善恭敬，熱情施以援手，卻不知其心中藏著怎樣的黑暗念頭?！　懽謽谴箝T緊鎖，致使準(zhǔn)備乘計(jì)程車回家的安吉拉在此返回保安室求助托馬斯。時(shí)機(jī)業(yè)已成熟，托馬斯露出猙獰面目，他綁架了安吉拉，強(qiáng)迫她參加自己的圣誕晚宴。這個(gè)愛慕安吉拉的小男人，給安吉拉帶來一個(gè)宛如噩夢般的圣誕節(jié)……

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