劇情縱覽
五代將軍德川綱吉(吉田輝雄暫無內(nèi)容飾)當(dāng)政時(shí)期,幕府政權(quán)穩(wěn)定,社會(huì)繁榮。政府上下奢侈風(fēng)氣蔚然成行,大奧中的美女更是數(shù)不勝數(shù)。在這些美女中,只有少數(shù)能得到將軍恩寵,大多數(shù)女人則要過著孤枕難眠的凄苦日子。
五代將軍德川綱吉(吉田輝雄暫無內(nèi)容飾)當(dāng)政時(shí)期,幕府政權(quán)穩(wěn)定,社會(huì)繁榮。政府上下奢侈風(fēng)氣蔚然成行,大奧中的美女更是數(shù)不勝數(shù)。在這些美女中,只有少數(shù)能得到將軍恩寵,大多數(shù)女人則要過著孤枕難眠的凄苦日子。
喜劇演員杰克(威爾?法瑞爾 Will Ferrell 飾)事業(yè)開始下滑,在經(jīng)紀(jì)人的建議下,杰克準(zhǔn)備翻拍經(jīng)典搞笑連續(xù)劇《神仙俏女巫》。同時(shí),為了鞏固自己在該劇的地位,杰克必須找一名新人在他的劇集里演他的妻子,女巫薩曼紗。在面試了數(shù)百人后,迷人可愛而且還會(huì)和女巫一樣聳鼻子的伊莎貝拉(妮可?基德曼 Nicole Kidman 飾)進(jìn)入了杰克的視線。在杰克鼓動(dòng)了自己的三寸不爛之舌后,伊莎貝拉終于同意和他一起出演該劇。該劇試播后反響強(qiáng)烈,為了和伊莎貝拉長(zhǎng)久合作下去,杰克決定假戲真做,向伊莎貝拉展開了愛情攻勢(shì)。只是,他有所不知道是,伊莎貝拉真的是一名法力高強(qiáng)的女巫,杰克以后的日子可不好過了。
阿美(王祖賢 飾)是個(gè)美麗的女孩子,可是天生腳就有殘疾。她的父親(黃霑 飾)因被堂叔欺騙買下了一間破舊不堪的超級(jí)市場(chǎng),花掉了畢生積蓄的父親變得瘋瘋癲癲的。阿美既要照顧父親,又要幫忙打理超級(jí)市場(chǎng),生活的重?fù)?dān)落在了她的身上。在一次交通意外中,司機(jī)梁少祖(周潤(rùn)發(fā) 飾)以為自己 把阿美撞至殘疾,十分內(nèi)疚,便決定要幫助阿美經(jīng)營(yíng)超級(jí)市場(chǎng)。阿美一開始并不信任梁少祖,到后來他聯(lián)合朋友來幫助自己的超級(jí)市場(chǎng)度過難關(guān),心里滿是感動(dòng),兩人更墜入了愛河。
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
A Lower East Side bartender becomes entangled in a murder mystery involving a desperate woman, a missing drug dealer and the scion of a powerful investment firm.