剧情片

简介：在他观看的每一部电影中，16岁的安藤都会创造叙事，帮助他找到一直困扰他的问题的答案：他是谁，他的父亲是谁？虽然真相仍然难以捉摸，但他的想象仍未实现，直到两个电影般的角色出现在他们的酒吧里——阿里尔，一个以无法解释的魅力吸引年轻人的理发师，和伊西德罗，一个拥有VCD播放器的神秘长发男人。Andoy发现自己被Ariel和Isidro迷住了，开始与他们共度亲密时光。当他与他们扭曲的生活纠缠在一起时，他的现实变得神秘起来。就像电影一样，安藤必须决定是用一声巨响还是呜咽来结束他多年来对父亲的寻找。

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简介：佩内洛普和伊西多罗斯生活在这样一个世界里：今天他们是恋人，但第二天他们就素不相识。在这个设定世界里，时间并不是线性流动的，日子在过去、现在和未来随机出现，而他们之间的关系也在不断变化。这是一个持续的、充满不确定性的非线性世界，唯一确定的是他们互相寻找、互为安慰。与这个非线性世界平行的，是另一个线性世界。非线性时间的世界与线性时间的世界之间可以互相穿越，但穿越的条件是神秘的，代价也是昂贵的。

简介：His dream was simply ordinary. To live in a comfortable apartment, waking up to a happy morning with his loved one. However, as he roams around a casino located in Gangwon Province, everything he had crumbles. Young-gil, who dreamed of a happy future with Harim, finds himself trapped in the temptations of the casino, sinking into an abyss with no bottom. He can’t escape the allure of the casino, losing his way in an unpredictable swamp. 　　Young-gil, who used to rely on his truck for his living, ends up pawning it, betting with the borrowed money from Harim’s mother instead of regaining the truck. He even spends the meager amount given by the village elder for the transport fare to the casino. His actions go beyond recklessness and into despair. Despite having several chances to escape the quagmire of misfortune, and encountering kindness from others, Young-gil ultimately fails to save himself. His image reflects a society where “money” has become of absolute value, portraying a risky and heartbreaking self-portrait. It feels even more precarious and poignant. (MO Eun-young) 　　源自：https://www.bifan.kr/eng/program/program_view.asp?pk_seq=6558&sc_category_seq=6022&sc_num=1&actEvent=view

简介：Ayşe, 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