赤橋下的暖流

? 4.8 播放：27萬(wàn) 2026-04-27

笹野陽(yáng)介（役所廣司）被公司裁員裁掉后又被妻子拋棄，只得流浪街頭，通過(guò)一位流浪老人之口，他來(lái)到遙遠(yuǎn)偏僻的能登半島一幢位于河邊赤橋下的房子，想找尋老人所說(shuō)的藏有金佛的盒子，但沒(méi)能如愿以償，只遇見(jiàn)體質(zhì)相當(dāng)特殊的佐惠子（清水美砂）?！∽艋葑拥奶厥庠谟冢?dāng)她與男ML合時(shí)，體內(nèi)會(huì)分泌出神奇的;暖水 該;暖水能令過(guò)季的花兒盛開(kāi)、能把大海的魚(yú)群召到河里。而更重要的，是沐浴在佐惠子;暖水下的男人，會(huì)重拾失去的信心和活力。如此，笹野陽(yáng)介與佐惠子開(kāi)始了一次次的交合。 　　

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劇情提要

笹野陽(yáng)介（役所廣司）被公司裁員裁掉后又被妻子拋棄，只得流浪街頭，通過(guò)一位流浪老人之口，他來(lái)到遙遠(yuǎn)偏僻的能登半島一幢位于河邊赤橋下的房子，想找尋老人所說(shuō)的藏有金佛的盒子，但沒(méi)能如愿以償，只遇見(jiàn)體質(zhì)相當(dāng)特殊的佐惠子（清水美砂）?！∽艋葑拥奶厥庠谟冢?dāng)她與男ML合時(shí)，體內(nèi)會(huì)分泌出神奇的;暖水 該;暖水能令過(guò)季的花兒盛開(kāi)、能把大海的魚(yú)群召到河里。而更重要的，是沐浴在佐惠子;暖水下的男人，會(huì)重拾失去的信心和活力。如此，笹野陽(yáng)介與佐惠子開(kāi)始了一次次的交合。 　　

幕后花絮

少林俗家弟子

　　程家少爺程亦鵬（范冬雨 飾）癡迷武術(shù)，程父試圖用婚姻約束其行為，程亦鵬遂決定遠(yuǎn)上少林做俗家弟子，如此既可躲避習(xí)武力強(qiáng)的未婚妻小翠，又能學(xué)習(xí)少林功夫，在與心上人小晴（何晴 飾）話別后，亦鵬奔赴少林。然而師父恒德（趙小銳 飾）日日只是讓一班俗家弟子做苦工，不肯教授少林功夫，師兄弟們雖不滿卻也無(wú)可奈何，加之小晴在少林附近落腳，程亦鵬和師兄弟們學(xué)著用各種方法苦中作樂(lè)。曾經(jīng)被逐出少林的一游俠在遍訪名師后，意欲挑戰(zhàn)少林，以報(bào)當(dāng)年未學(xué)到武功之恨，程亦鵬等俗家弟子被游俠多次毆打，恒德欲同游俠較量反被方丈關(guān)入藏經(jīng)閣。程亦鵬經(jīng)過(guò)苦工打熬，終有習(xí)武資格，在恒德指點(diǎn)下向游俠一雪前恥……

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