不良行為

評(píng)分：6.0 播放：00萬(wàn) 更新：2026-05-04
主演： 呂克·米朗德 

《不良行為》是被譽(yù)為“歐洲情色電影皇帝”丁度的經(jīng)典情色電影之一。影片講述落魄演員布魯諾淪落到拍攝三級(jí)電影的地步，然而固執(zhí)於傳統(tǒng)表演藝術(shù)的布魯諾與社會(huì)格格不入，在片場(chǎng)怒毆戲弄女主角的導(dǎo)演與制片人，並因此結(jié)識(shí)難友加裡波第，一起被抓入精神病院。二人逃出後為生計(jì)所困持槍搶劫，逃亡到地處邊荒的一個(gè)小加油站，與多情的老板娘風(fēng)流一場(chǎng)，並因此遭到癱瘓老板的妒忌而報(bào)警……

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第九區(qū)

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　　1990年，一艘巨大的飛船出現(xiàn)在地球上空，人們惶恐不安，卻又分外好奇。經(jīng)過一段時(shí)間緊張的等待，外星飛船始終沒有動(dòng)靜。人類終于小心翼翼靠近它，強(qiáng)行走進(jìn)艙內(nèi)，結(jié)果發(fā)現(xiàn)了不計(jì)其數(shù)的外星人。他們形容丑陋，宛如蝦子，而且健康狀況極差，虛弱無(wú)力。原來(lái)這是一群來(lái)自外星的難民，他們最終被地球人接納，并隔離在南非約翰內(nèi)斯堡的一片區(qū)域內(nèi)生活，此地名為“第九區(qū)”。經(jīng)過長(zhǎng)達(dá)20年的繁衍，外星難民的數(shù)量擴(kuò)張至180萬(wàn)之多，且和周邊人類的矛盾沖突不斷，越來(lái)越多的人類呼吁將“大蝦”趕出地球?！　NU（列國(guó)同盟組織）經(jīng)過磋商，決定將外星難民遷移到更為偏遠(yuǎn)的區(qū)域。MNU外星事務(wù)部門的特工威庫(kù)斯（Sharlto Copley 飾）專門負(fù)責(zé)搬遷工作。威庫(kù)斯在動(dòng)員過程中傲慢隨意，與當(dāng)?shù)鼐用駴_突頻頻。最終，他為自己的行為付出代價(jià)，外星人的神秘流體將其感染，威庫(kù)斯慢慢變成了外星人的模樣……

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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