野蜜桃

　　影片在舒緩的節(jié)奏下呈現(xiàn)了一位女性重塑自我之路，故事主人公安娜為她十幾歲時犯下的謀殺罪已經(jīng)服刑15年，雖然服刑期滿，但周圍異樣的眼神意味著 對她的審判仍未結(jié)束。安娜離家遠行來到一個小鎮(zhèn)并找到工作，準備開啟新生活，但她仍需與封閉、恐懼、偏見不停斗爭，那些舊日時光留下的黑洞，必須由她親自填補。

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

　　說來平平無奇，奇在竟煞是好看。娓娓道來自己過去一天的是新銳攝影師彼得胡渣，請他到香閨暢談的是知名作家蓮達羅森克蘭茲。本打算將紐約藝術圈好友的生活日常結(jié)集成書，書出不成，抄本卻奇跡留下，讓埃拉薩克斯看得心神一動，在一室之內(nèi)以靈巧多變的鏡頭擺位，重塑1974年那平凡卻奇妙的一天。請來《欲流雙行道》的賓韋沙念55頁獨白，三分型格三分憂郁再帶三分初成名的忐忑。漫溢于16米厘的光影質(zhì)感之間，是安迪華荷、蘇珊桑塔格那一代人浸透于生活的藝術靈光。

　　背景設定在馬薩諸塞州塞勒姆鎮(zhèn)，當一個破壞分子開始在網(wǎng)上發(fā)布小鎮(zhèn)里每個人的私人生活細節(jié)，將小鎮(zhèn)生活攪得天翻地覆后，一個精通社交媒體的高中學生和她的朋友們等待著觀察最終結(jié)果。 瀏覽器歷史記錄、私信、非法下載、秘密文本鏈甚至更加糟糕的因素，造成了數(shù)字時代能夠發(fā)生的最糟糕的情況。