女性朋友

? 3.3 播放：68萬 2026-04-26
主演：未知

歌手美貞和她高中的朋友、經(jīng)紀人志敏決定躲避跟蹤狂，躲在旅館裏住幾天。而且，在公司貼上的警衛(wèi)員姜俊也來到了民宿，開始了三個人的奇妙同居。姜俊說除了自己的任務之外，不工作，但需要錢的他會一點點接受她們的要求。在某一天去跑腿的姜俊聽到奇怪的聲音，在美靜的房門前站在美靜自衛(wèi)的樣子。兩人就那樣目光相碰，慌張的姜俊就那樣逃走一樣轉(zhuǎn)身。之後姜俊和美貞開始互相意識。某一天，曾是民前愛人的調(diào)查官樸哲哲來到現(xiàn)場，報道了跟蹤狂被殺害的事實。而聽到志敏的跟蹤狂不是一個人的故事的樸哲又開始對其他跟蹤狂和嫌疑犯進行調(diào)查。

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? 播放 女性朋友

劇情提要

歌手美貞和她高中的朋友、經(jīng)紀人志敏決定躲避跟蹤狂，躲在旅館裏住幾天。而且，在公司貼上的警衛(wèi)員姜俊也來到了民宿，開始了三個人的奇妙同居。姜俊說除了自己的任務之外，不工作，但需要錢的他會一點點接受她們的要求。在某一天去跑腿的姜俊聽到奇怪的聲音，在美靜的房門前站在美靜自衛(wèi)的樣子。兩人就那樣目光相碰，慌張的姜俊就那樣逃走一樣轉(zhuǎn)身。之後姜俊和美貞開始互相意識。某一天，曾是民前愛人的調(diào)查官樸哲哲來到現(xiàn)場，報道了跟蹤狂被殺害的事實。而聽到志敏的跟蹤狂不是一個人的故事的樸哲又開始對其他跟蹤狂和嫌疑犯進行調(diào)查。

幕后花絮

挑戰(zhàn)未來2：星云

　　亞歷克斯失敗后過去了73年，人類也失去了半機械人的戰(zhàn)爭。從那時起，人類就被奴役了?？茖W家們已經(jīng)開發(fā)出一種新的DNA毒株，這可能標志著Cyborgs的終結(jié)，并將其注射到志愿者身上。當生化機器人了解到這個女人和嬰兒時，他們都要終止。為了逃跑，她帶著一艘偷來的半機械人的船，在1980年回到了東非，在那里，母親被殺，但孩子得救了。這需要20年的時間，但半人半人的獵人星云最終找到了這個名叫亞歷克斯的女孩，并及時趕回來終結(jié)她的生命。

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