剧情纵览
电视台里,编剧秀贞(李恩珠饰)爱上了有妇之夫的制片永硕(文成根饰)。永硕的独立电影需要投资,秀贞便与永硕来到了永硕朋友杰勋(韩明求饰)的画廊。这位朋友却对秀贞很感兴趣,更希望秀贞能成为自己的女朋友。秀贞开始与杰勋交往,一开始相处还算融洽,不久杰勋便想进一步与秀贞发展。仍是处女的秀贞对于性这件事颇为介意,杰勋见无法进一步得到秀贞,大感无奈。
电视台里,编剧秀贞(李恩珠饰)爱上了有妇之夫的制片永硕(文成根饰)。永硕的独立电影需要投资,秀贞便与永硕来到了永硕朋友杰勋(韩明求饰)的画廊。这位朋友却对秀贞很感兴趣,更希望秀贞能成为自己的女朋友。秀贞开始与杰勋交往,一开始相处还算融洽,不久杰勋便想进一步与秀贞发展。仍是处女的秀贞对于性这件事颇为介意,杰勋见无法进一步得到秀贞,大感无奈。
本片本讲述的是:乔治·柯汉是本世纪前期著名的百老汇表演艺人,身兼演员、作家、作曲家与舞蹈家于一身,他的生平故事可以说反映了四十年代以前美国娱乐事业的生态。本片是导演迈克尔·柯蒂兹与编剧爱泼斯坦尼兄弟合作的另一佳片,描述柯汉从一个地位卑微的儿童演员力争上游变成百老汇巨星的一生。以出色的制作和歌舞场面重现当年的娱乐圈面貌,并侧面反映了当时的美国社会脉动。在三十年代以主演黑社会片享有盛誉的詹姆斯·卡格尼改变戏路,在银幕上又唱又跳,生动而细腻地注释了主人翁的形象和个性,因而勇夺奥斯卡最佳男主角金像奖,片中出色的歌舞表演亦令人看得眉飞色舞
Story follows an out-of-work steel worker as he struggles to provide for his family and avenge his brother's death by fighting in a mixed martial-arts match against a dangerous opponent.
年轻貌美的美国科学家琳达(布丽·拉尔森 饰),被公司总裁葛根(唐纳·苏德兰 饰)派往印度销售她所培育的“9号稻米”。初次来到印度的琳达饱受文化冲击,还好有当地年轻官僚威廉的协助,让她可以在那边安心地边研究边销售。此时,她遇到一位因为缴不出学费而辍学的大学生罗杰(乌特卡什·安邦德卡尔 饰),两人在研究与争执过程当中陷入热恋,罗杰也帮她发现被派往印度的丑陋内幕……原来她想要帮助印度农民的研究成果,竟不知不觉地被无良的葛根滥用,即将对农民造成毁灭性的伤害…琳达该要如何阻止这场灾难?而她与罗杰的异国恋又将会开花结果吗?
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