人肉叉燒包2之天誅地滅 人肉叉燒包II天誅地滅

★ 0.8 播放：99萬(wàn) 更新：2026-04-26

燒臘店老板娘娟（楊梵 飾）生性風(fēng)騷、放蕩不羈，然而在性生活方面丈夫昌（張錦程 飾）卻無(wú)法滿足她，以至于她經(jīng)常對(duì)其吆五喝六。娟的表妹亞鳳（孫佳君 飾）從大陸來(lái)香港探親，并暫住店中。由于亞鳳面容姣好，吸引了來(lái)此用餐的客人，其中也包括轄區(qū)警探亞生（黃秋生 飾）。某日，娟帶亞鳳逛街，亞鳳因?yàn)橐患娼z睡衣遭店員白眼，暗中發(fā)誓要出這口惡氣。在娟出門鬼混之際，亞鳳暗中勾引了昌，令對(duì)方俯首帖耳。此后，亞鳳不但狠狠回敬了趨炎附勢(shì)的店員，而且還獲得了在港的身份。此后，娟和昌再過(guò)性生活時(shí)，發(fā)現(xiàn)昌的反應(yīng)有所轉(zhuǎn)變，懷疑他在外偷腥。這時(shí)，發(fā)型、衣著大變樣的亞鳳，引起了娟的注意。兩人之間的爭(zhēng)斗逐漸升級(jí)。但亞鳳毫無(wú)懼色，她仰仗昌的寵愛(ài)，變本加厲跟娟對(duì)抗，一步步施行著自己變態(tài)的復(fù)仇計(jì)劃……

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燒臘店老板娘娟（楊梵 飾）生性風(fēng)騷、放蕩不羈，然而在性生活方面丈夫昌（張錦程 飾）卻無(wú)法滿足她，以至于她經(jīng)常對(duì)其吆五喝六。娟的表妹亞鳳（孫佳君 飾）從大陸來(lái)香港探親，并暫住店中。由于亞鳳面容姣好，吸引了來(lái)此用餐的客人，其中也包括轄區(qū)警探亞生（黃秋生 飾）。某日，娟帶亞鳳逛街，亞鳳因?yàn)橐患娼z睡衣遭店員白眼，暗中發(fā)誓要出這口惡氣。在娟出門鬼混之際，亞鳳暗中勾引了昌，令對(duì)方俯首帖耳。此后，亞鳳不但狠狠回敬了趨炎附勢(shì)的店員，而且還獲得了在港的身份。此后，娟和昌再過(guò)性生活時(shí)，發(fā)現(xiàn)昌的反應(yīng)有所轉(zhuǎn)變，懷疑他在外偷腥。這時(shí)，發(fā)型、衣著大變樣的亞鳳，引起了娟的注意。兩人之間的爭(zhēng)斗逐漸升級(jí)。但亞鳳毫無(wú)懼色，她仰仗昌的寵愛(ài)，變本加厲跟娟對(duì)抗，一步步施行著自己變態(tài)的復(fù)仇計(jì)劃……

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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