讓我去吸你

? 6.9 播放：45萬(wàn) 2026-04-23

別名：lafidelite 片子一開(kāi)始，在夜行的火車上，女主角攝影師克萊麗的母親告訴她：;我不愛(ài)你的父親，但生下你以后我們很快樂(lè)。 這話似乎暗示克萊麗也要在愛(ài)和快樂(lè)中選擇?！　∧贻p又多才多藝的克萊麗一直找不到讓她去愛(ài)的人，直到她在街上拍照時(shí)碰到為人正直又有涵養(yǎng)的兒童圖書(shū)編輯克利夫?？死虮凰拿利惡蜌赓|(zhì)深深吸引，一見(jiàn)鐘情，她也被克利夫打動(dòng)芳心，二人決定結(jié)婚。然而結(jié)婚前夕，克萊麗又遇見(jiàn)了像一團(tuán)烈焰能把她吞噬的;狗仔隊(duì)攝影師莫內(nèi)。擁有共同興趣的他們分享著對(duì)攝影的狂熱，最后發(fā)展出一段熱情如火的愛(ài)戀，但為了守信，為了一份忠貞，克萊麗堅(jiān)持跟克利夫在一起，縱使內(nèi)心受到巨大沖擊。 　　

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劇情提要

別名：lafidelite 片子一開(kāi)始，在夜行的火車上，女主角攝影師克萊麗的母親告訴她：;我不愛(ài)你的父親，但生下你以后我們很快樂(lè)。 這話似乎暗示克萊麗也要在愛(ài)和快樂(lè)中選擇?！　∧贻p又多才多藝的克萊麗一直找不到讓她去愛(ài)的人，直到她在街上拍照時(shí)碰到為人正直又有涵養(yǎng)的兒童圖書(shū)編輯克利夫?？死虮凰拿利惡蜌赓|(zhì)深深吸引，一見(jiàn)鐘情，她也被克利夫打動(dòng)芳心，二人決定結(jié)婚。然而結(jié)婚前夕，克萊麗又遇見(jiàn)了像一團(tuán)烈焰能把她吞噬的;狗仔隊(duì)攝影師莫內(nèi)。擁有共同興趣的他們分享著對(duì)攝影的狂熱，最后發(fā)展出一段熱情如火的愛(ài)戀，但為了守信，為了一份忠貞，克萊麗堅(jiān)持跟克利夫在一起，縱使內(nèi)心受到巨大沖擊。 　　

幕后花絮

奇跡男孩

 奧吉（雅各布·特瑞布雷 Jacob Tremblay 飾）是一個(gè)10歲的男孩，除了頭戴一個(gè)巨大的太空頭盔外，他和其他的同年齡孩子別無(wú)二致。頭盔下隱藏了奧吉因?yàn)楦鞣N手術(shù)而傷痕累累的臉龐，它不僅完美的隱藏起了奧吉脆弱自卑的內(nèi)心，也成功的防止了奧吉的模樣嚇到別的孩子。奧吉沒(méi)有上過(guò)學(xué)，他的所有文化知識(shí)都是母親伊莎貝爾（朱莉婭·羅伯茨 Julia Roberts 飾）在家教授給他的。然而，伊莎貝爾漸漸感覺(jué)到，家庭課堂無(wú)法滿足奧吉的成長(zhǎng)需要，除了學(xué)習(xí)知識(shí)，奧吉還必須學(xué)會(huì)的，是如何同除了家人以外的人交流。在憂慮重重之中，伊莎貝爾將奧吉送入了一間公立學(xué)校里，在那里，奧吉面臨的是他人生中必須要戰(zhàn)勝的挑戰(zhàn)。

好像一切都很糟糕

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