黑天使

　　奧爾索利亞是特蘭西瓦尼亞主要城市克盧日的一名法警。一天，她必須將一名無家可歸的男子從地下室驅(qū)逐出去，這一行動帶來了悲劇性的后果，使得奧爾索利亞必須盡力應(yīng)對隨之而來的道德危機(jī)。

　　Driving home late at night during a heavy rainstorm, Glen experiences car trouble. Near where his car gets stuck, he spots a house, knocks on the door and is greeted by an oddly friendly middle-aged man, Arthur, and his younger wife, Cyndi. The strange couple pours him a drink, and then more drinks, followed by an unexpected offer that Glen can’t refuse. Elsewhere, a young woman, Katie, is feeling emotionally weighed down by a secret romantic arrangement that feels like a textbook case of gaslighting. And at the same time, in a nondescript research facility, medical professional Julie begins questioning her role in a bizarre experiment, fearing that she’s doing more harm than good.

　　梧桐中學(xué)高二十八班是遠(yuǎn)近聞名的問題班級，后進(jìn)生、藝術(shù)生、體育生、不良少年聚集在此，以宋宸（柯焱曦 飾）為首的男生幫派和以秦淼淼（熊婧文 飾）為首的女生幫派互相不服，班級混亂無序。一天，高二十八班收到了一封信，這封信自稱是由一年后的他們集體寄來。信上說，即將調(diào)來的班主任譚 睿明（秦海 飾）會改變十八班，成為對他們最重要的人。然而在一年后的未來，譚老師卻永遠(yuǎn)地離開了他們。為了實現(xiàn)一段沒有遺憾的青春，扭轉(zhuǎn)歷史，少年們決定按照信上所說，挑戰(zhàn)一個個不可能實現(xiàn)的任務(wù)...

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