保險女王：她的商業(yè)秘密

　　1453年，東羅馬帝國陷落后，地處中歐的神圣羅馬帝國，不得不直接面對土耳其人的侵擾。土耳其人熱衷擴張，雖然他們信奉伊斯蘭教，但他們認為他們才是真正的“羅馬皇帝”，神圣羅馬帝國的皇位，已由哈布斯堡王朝掌權(quán)兩百年，他們是基督教世界的最后保衛(wèi)者，雙方再維也納一決高下：一方信誓旦旦，另一方誓死捍衛(wèi)。

是被過去塑造的囚徒，還是自我命運的締造者？故事以搶劫失敗后的悲劇開場。一位瀕臨崩潰的偏執(zhí)女子，帶領(lǐng)兩名同伙搶劫了愛爾蘭農(nóng)村信用社，但計劃漏洞百出。事態(tài)不斷失控，隨著時光倒流，那些無法逃離的記憶如同鎖鏈，不僅將她們拖入深淵，更將身邊人卷入致命漩渦。

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

　　肖恩·利維將再次合作老搭檔二十世紀福斯，執(zhí)導(dǎo)新片[隕石坑](Crater，暫譯)，利維也將約翰·J·格里芬執(zhí)筆的原創(chuàng)劇本進行改編。故事被描述為科幻版的[ 伴我同行 ]，講述在月球殖民地長大的男孩，和三個小伙伴共同前往一處神秘隕石坑探秘，不料卻發(fā)生意外。影片劇本曾經(jīng)入選2015年“好萊塢劇本黑名單”。