愛欲情歌

? 7.4 播放：01萬(wàn) 2026-04-26

別名：我愛你,因性而已、我愛你，我也不愛你，一對(duì)同志與獨(dú)具男孩特質(zhì)的她，兩男一女，肉體愉悅與x愛所發(fā)展出的復(fù)仇，安東尼奧尼《春光乍現(xiàn)》Jane Birkin主演?？ㄜ囁緳C(jī)Krassky和他的男友Padovan盡可能地過(guò)著屬于他們自己的隨心所欲生活，直到有一天，讓Padovan難以理解和接受地，Krassky對(duì)加油站小餐館的一個(gè)女孩產(chǎn)生了興趣。Krassky第一眼看到Johnny的背影還以為她是一個(gè)男孩。因?yàn)?沒(méi)有胸部和大屁股 別人都叫她;Johnny;這個(gè)名字。盡管被警告Krassky是個(gè)同性戀，Johnny還是開始和他約會(huì)　

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劇情提要

別名：我愛你,因性而已、我愛你，我也不愛你，一對(duì)同志與獨(dú)具男孩特質(zhì)的她，兩男一女，肉體愉悅與x愛所發(fā)展出的復(fù)仇，安東尼奧尼《春光乍現(xiàn)》Jane Birkin主演?？ㄜ囁緳C(jī)Krassky和他的男友Padovan盡可能地過(guò)著屬于他們自己的隨心所欲生活，直到有一天，讓Padovan難以理解和接受地，Krassky對(duì)加油站小餐館的一個(gè)女孩產(chǎn)生了興趣。Krassky第一眼看到Johnny的背影還以為她是一個(gè)男孩。因?yàn)?沒(méi)有胸部和大屁股 別人都叫她;Johnny;這個(gè)名字。盡管被警告Krassky是個(gè)同性戀，Johnny還是開始和他約會(huì)　

幕后花絮

月影殺痕

　　1988 年，心懷偵探夢(mèng)想的費(fèi)城警官托馬斯·洛克哈特（波伊德·霍布魯克飾演）開始追蹤一名連環(huán)殺手，此人每隔 9 年就神秘地出現(xiàn)一次。但是當(dāng)殺手的罪行開始違背所有的科學(xué)解釋時(shí)，洛克對(duì)真相的癡迷可能會(huì)毀掉他的事業(yè)、家庭，甚至是他的心智?！对掠皻⒑邸肥且徊炕旌项}材的心理驚悚片，探討了時(shí)間的力量，以及時(shí)間的流逝如何使我們相聚又分開。該片由吉姆·米可執(zhí)導(dǎo)，其他主演包括邁克爾·C·豪爾和克利歐佩特拉·科爾曼。

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