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剧情简介
曼玲乃某大饭店的老板娘，因不满丈夫汉生长期在欲望方面无情的虐待，恰巧好友梦臻因丈夫志文洗肾需要大笔金钱，遂用计将梦臻介绍给汉生任其凌虐。不料奸情在志文察觉之后，志文有感于拖累妻子梦臻，于是自杀身亡。梦臻在百般伤心无助之余，与老板娘曼玲有暧昧关系的承茂即趁虚而入夺其芳心，于是乎世人之间展开一场爱很交缠的纠葛 hellip; hellip; hellip; hellip;
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好像一切都很糟糕
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