水管工

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　　Can I Get a Witness? tells the story of a mother and daughter in a near-future world where huge sacrifices are made to maintain life on Earth.　　With its resources swallowed by e-waste and overpopulation, the world is experiencing an anthropogenic collapse. To manage, technological advances are shunned. Nobody has electricity and only people with exceptions are permitted cars. Most importantly, there is also a collective agreement that nobody is allowed to live beyond the age of 50.　　Oh’s Ellie lives with her teenage daughter Kiah (Keira Jang), who is starting her first day as a Documenter, an important role in this new world order. She uses her artistic gifts — beautifully conjured in animations — to draw the dying ceremonies, since printing and photography have been banned.　　Kiah is paired with Daniel (Joel Oulette), the young man who performs the contractual elements of each person’s end-of-life ceremony. He matter-of-factly provides the packages a person can choose, sets them up when the time comes, and performs the burials. But his new coworker is having a hard time handling the emotional impacts of the job.

　　東京，一個世界知名的大城市。 Sarah (何超儀 飾) 與男友分手后，來到此地欲求購買房生產(chǎn)，并度過一個短暫而寧靜的假期，但一切事與愿違。由于美國總統(tǒng)的突然到訪東京，原定的酒店已滿?！　》康禺a(chǎn)公司將她安置在一座非常破舊廢棄令人毛骨悚然的私人民宿 “minipaku” 中 ，當(dāng)Sarah入住時，她發(fā)現(xiàn)它是由一位老婦人（白川和子 飾）經(jīng)營的。她在那里的第一個晚上感到十分不安和可怕，噩夢連連，并且病了起來，只能被迫留下來，更令她意外地發(fā)現(xiàn)了一具正在被寄生蟲吞噬的完整骨骼。警察局的高級警司（高橋和也 飾）接手調(diào)查，也發(fā)現(xiàn)這家民宿牽涉多宗連環(huán)離奇失蹤案件，怪事連連，警司也未能為Sarah破解?！　∵@座有著非常神秘力量和不明歷史的房子，與Sarah有著某種聯(lián)系。當(dāng) “minpaku” 的燈熄滅時，可怕而令人不安的景象籠罩著她，它們變得越來越真實。一場又一場可怕而離奇的噩夢，令人不知道這是開始還是結(jié)束，似乎一切都是安排好的。

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