遁入虛無(wú)

★ 6.7 播放:79萬(wàn) 更新:2026-04-23

一場(chǎng)車(chē)禍奪去了父母的性命,年幼的奧斯卡和妹妹琳達(dá)發(fā)誓永不分開(kāi)。成年后,奧斯卡(Nathaniel暫無(wú)內(nèi)容Brown暫無(wú)內(nèi)容飾)漂泊來(lái)至東京,為了實(shí)現(xiàn)童年的誓言,他以兜售毒品賺取錢(qián)財(cái),終于為琳達(dá)(Paz暫無(wú)內(nèi)容de暫無(wú)內(nèi)容la暫無(wú)內(nèi)容Huerta暫無(wú)內(nèi)容飾)掙得了飛來(lái)東京的機(jī)票。兄妹相遇,卻終是隨波逐流的個(gè)體。在這個(gè)繁花亂墜迷人眼的大都會(huì),奧斯卡繼續(xù)進(jìn)行毒品交易,而琳達(dá)則在一家夜總會(huì)大跳艷舞。在一次交易時(shí),奧斯卡遭到警察圍捕,混亂中更被槍擊身亡。他的意識(shí)漸漸脫離肉體,穿梭在東京的大街小巷,關(guān)注跟隨每一個(gè)在他生命中留下痕跡的人,等待著下一場(chǎng)不知何時(shí)才會(huì)開(kāi)始的輪回……

在線播放

劇情簡(jiǎn)介

一場(chǎng)車(chē)禍奪去了父母的性命,年幼的奧斯卡和妹妹琳達(dá)發(fā)誓永不分開(kāi)。成年后,奧斯卡(Nathaniel暫無(wú)內(nèi)容Brown暫無(wú)內(nèi)容飾)漂泊來(lái)至東京,為了實(shí)現(xiàn)童年的誓言,他以兜售毒品賺取錢(qián)財(cái),終于為琳達(dá)(Paz暫無(wú)內(nèi)容de暫無(wú)內(nèi)容la暫無(wú)內(nèi)容Huerta暫無(wú)內(nèi)容飾)掙得了飛來(lái)東京的機(jī)票。兄妹相遇,卻終是隨波逐流的個(gè)體。在這個(gè)繁花亂墜迷人眼的大都會(huì),奧斯卡繼續(xù)進(jìn)行毒品交易,而琳達(dá)則在一家夜總會(huì)大跳艷舞。在一次交易時(shí),奧斯卡遭到警察圍捕,混亂中更被槍擊身亡。他的意識(shí)漸漸脫離肉體,穿梭在東京的大街小巷,關(guān)注跟隨每一個(gè)在他生命中留下痕跡的人,等待著下一場(chǎng)不知何時(shí)才會(huì)開(kāi)始的輪回……

導(dǎo)演精選

茱莉亞

 故事發(fā)生在二十世紀(jì)三十年代初期,莉蓮(簡(jiǎn)·方達(dá) Jane Fonda 飾)前往維也納尋找自己曾經(jīng)的好友茱莉亞(瓦妮莎·雷德格瑞夫 Vanessa Redgrave 飾),到達(dá)目的地之后,莉蓮才知道,茱莉亞因?yàn)楹头ㄎ魉怪С终甙l(fā)生了激烈沖突而受傷住進(jìn)了醫(yī)院,之后不知所蹤。在莉蓮回歸自己的生活之后,她意外的收到了茱莉亞的來(lái)信,在信中,茱莉亞請(qǐng)求莉蓮幫助自己投運(yùn)五萬(wàn)美元給反納粹組織,盡管這一舉動(dòng)在當(dāng)時(shí)意味著巨大的危險(xiǎn),但是莉蓮還是答應(yīng)了茱莉亞,最終,兩個(gè)多年未見(jiàn)的好友在柏林重逢。然而,沒(méi)過(guò)多久,莉蓮便受到了茱莉亞的死訊,在悲痛之中,莉蓮明白,自己還有未完成的任務(wù)。

虛擬實(shí)驚

  仁·阿瑪瑞發(fā)明了革命性的藥品型軟件,可直接在人類(lèi)大腦中創(chuàng)造虛擬現(xiàn)實(shí),僅幾秒鐘就能體驗(yàn)幾小時(shí)或幾天的激動(dòng)人心的冒險(xiǎn)。仁要拯救弟弟于記憶迷局,而合作伙伴一心只想賺取利益,但是一切都是記憶連環(huán)套……

好像一切都很糟糕

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