莉妮薩

　　莫蘭（袁百梓卉 飾）擁有著一段悲慘的童年，很小的時候，她就失去了母親，然而莫蘭始終都不知道母親究竟為什么會死，這場悲劇成為了莫蘭內(nèi)心里最大的謎團和黑洞。時間一年一年的就這樣過去，一轉(zhuǎn)眼莫蘭便已經(jīng)長成了亭亭玉立的少女，只是，她從未放棄過想要調(diào)查當年事件真相的額念頭?！　∫直ｂ?飾）是莫蘭的師叔，在泰國經(jīng)營著一家按摩院。莫蘭千里迢迢遠赴泰國尋找尹正，想要借助他的力量開始調(diào)查。哪知道來到泰國后，莫蘭的身邊開始接二連三的發(fā)生科學無法解釋的詭異事件，甚至還發(fā)生了命案，而這一切都和母親當年的死因有著千絲萬縷的關(guān)聯(lián)。

 A cataclysmic event serves as the backdrop for a passionate affair between two individuals torn between desire and the constraints of their circumstances.

　　提奧·詹姆斯、艾米麗·拉塔科夫斯基(《消失的愛人》)主演犯罪新片《謊言與偷竊》(Lying and Stealing)首曝劇照，近日剛于洛杉磯開拍。Matt Aselton(《不可思議》)執(zhí)導(dǎo)，講述一個年輕、圓滑的賊Ivan，他的專長是盜竊洛杉磯上層集團的高端藝術(shù)品，事業(yè)發(fā)展很順利，但他想退出。Elyse是一名很有前途的女演員，她的密室里堆有成山的建筑骨架和大量債務(wù)。兩位機靈的騙子決定合作，參與一項大膽的搶劫案。　　弗雷德·邁拉麥德(《嚴肅的男人》《炸天女郎》)、Ebon Moss-Bachrach(《懲罰者》《末日孤艦》)、Isiah Whitlock Jr.(《迷霧》《副總統(tǒng)》)、伊萬·漢德勒(《加州靡情》《欲望都市》)、約翰·蓋汀斯(《鐵甲鋼拳》《極品飛車》)等參演，Michael Costigan(《斷背山》《美國黑幫》)、Naomi Despres(《一級重罪》《殺死信使》)、Christopher Tricarico(《高堡奇人》《五月夏日》)、Mohamed AlRafi(《毋庸置疑》)共同制片。

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