劇情縱覽
父親過世后,因繳不出稅金而家道中落的瑪麗亞,被送往一處專門養(yǎng)成性奴隸的訓(xùn)練所「少女奴隸牧場(chǎng)」。在那裡,瑪麗亞不僅得忍受同學(xué)們的霸凌,還得面對(duì)教官們對(duì)肉體的侵犯,唯有被有錢人選中,才能離開這個(gè)宛如地獄的場(chǎng)所。終于,瑪麗亞獲得了贖身的機(jī)會(huì),但在自由的背后,卻隱藏著不為人知的可怕祕(mì)密。
父親過世后,因繳不出稅金而家道中落的瑪麗亞,被送往一處專門養(yǎng)成性奴隸的訓(xùn)練所「少女奴隸牧場(chǎng)」。在那裡,瑪麗亞不僅得忍受同學(xué)們的霸凌,還得面對(duì)教官們對(duì)肉體的侵犯,唯有被有錢人選中,才能離開這個(gè)宛如地獄的場(chǎng)所。終于,瑪麗亞獲得了贖身的機(jī)會(huì),但在自由的背后,卻隱藏著不為人知的可怕祕(mì)密。
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
地方から上京してマンガ家を目指すヒロインが戀に仕事に奮闘する本作。原作は実體験をもとにした香穂のマンガ「俺とSEXすれば売れる」だ。エロい中年マンガ家や若いアシスタントに次々と手を出す中堅(jiān)マンガ家など、危うい先輩たちに囲まれながら向上心を保ち邁進(jìn)していく主人公?香穂をミスFLASH2022 セミファイナリストの青山泰菜が演じた。
打破白娘子傳說的固有框架,以許仕林后人許博森的現(xiàn)代視角切入,將千年神話與當(dāng)代青年的成長(zhǎng)、抉擇結(jié)合,把 “救母” 而非 “愛情” 作為核心主線,賦予經(jīng)典故事全新的情感內(nèi)核與現(xiàn)實(shí)思考。
菜埔(莊益增 飾)是一家雕塑廠的夜間保安,家中有一位重病的老母親需要照顧。肚財(cái)(陳竹昇 飾)是菜埔唯一的朋友,菜埔經(jīng)常在值夜班的時(shí)候把肚財(cái)叫過來和他作伴。一天,兩人突發(fā)奇想決定看一看菜埔的老板黃啟文(戴立忍 飾)的行車記錄儀里記錄了哪些影像,希望向來風(fēng)流的老板能夠貢獻(xiàn)出一些精彩的片段以解兩個(gè)獨(dú)身男人內(nèi)心里的寂寞之苦。行車記錄儀所記錄的影像果然沒有讓菜埔和肚財(cái)失望,但與此同時(shí),兩人也發(fā)現(xiàn)了黃啟文的許多不可告人的秘密。實(shí)際上,菜埔和肚財(cái)?shù)囊慌e一動(dòng)皆沒有逃過黃啟文的眼睛,為了保住自己的地位和名聲,他決定采取一些必要的行動(dòng)。