剧情纵览
本片比《欲望都市》更幽默性感、内容贴身,对白露骨,她们讨论自己的欲望望和性幻想 一个即兴的生日聚会,饮了几瓶酒的四个风趣、性感的少妇,各自说出她们的荒唐逸事。当中有人在公众电话亭进行电话x愛,亦有人在拥挤的地铁上偷情私会。各自分享自己最性感,最私人的时刻。她 们的对话引发成为夜深电台节目的题材,来自不同各地的听众纷纷来电,说出自己最荒诞不羁的XO经验...
本片比《欲望都市》更幽默性感、内容贴身,对白露骨,她们讨论自己的欲望望和性幻想 一个即兴的生日聚会,饮了几瓶酒的四个风趣、性感的少妇,各自说出她们的荒唐逸事。当中有人在公众电话亭进行电话x愛,亦有人在拥挤的地铁上偷情私会。各自分享自己最性感,最私人的时刻。她 们的对话引发成为夜深电台节目的题材,来自不同各地的听众纷纷来电,说出自己最荒诞不羁的XO经验...
砵仔糕(周润发 饰)、阿占(张国荣 饰)和红豆(钟楚红 饰)均是孤儿,在养父(曾江 饰)栽培下成为国际大盗。长大后成了帮他赚钱的艺术品大盗,而三人同时又认了警察(朱江 饰)为干爹。法国巴黎博物馆内,名画《赫林之女仆》被人盗走。与此同时,阿海、阿占和红豆三人以敏捷身手盗得另一幅名画,在与法国大哥交易时得知名画《赫林之女仆》在妖气重重的古堡内,他们在曾江安排下成功地盗取此画之后,反被集团原凶曾江与法国大哥合谋设下陷阱,派人追杀灭口。阿海驾车与杀手快艇相撞……三人失散,数年后,他们在香港重聚,阿海“瘫痪”住在朱江家里,阿占和红豆已经结婚了。曾江又逼他们去偷画……
A noir portrait of Italy in the Seventies.
宋真宗晚年,青春年少的包拯和好友公孙策,一同破获一起尘封多年冤案。女主角月亮十多年前,全家被奸人所害,为了翻案,打听到传闻中阴阳镜能断是非真假,于是去墓地盗取,结果触碰机关导致展昭被困,为了将其解救,必须破解地穴里的各种机关算术。一筹莫展的月亮刚好遇到聪慧过人的包拯,巧设伎俩利用鬼怪传说,想引包拯去地穴救展昭。但包拯心中秉持正义、公平,从不相信鬼怪传说,救出展昭后,月亮拿到阴阳镜后,坦白自己一家遭奸人所害的事实,凶手还在逍遥法外。为了翻案包拯,利用阴阳镜的传说,使得案件重演,凶手心绪恐惧坦白从宽,认罪伏法。从此,年少的包拯一举成名,所代表的公平、公正和正义的形象,慢慢被民众熟知,被民众所拥戴。
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