禁色

　　雅各布（Zak Kilberg 飾）是一個奇怪的小伙子，他似乎患有一種怪病，這種病令他無法生活在陽光之下，長久以來，雅各布一直都隱藏在黑暗之中，直到有一天他邂逅了一位名為瑪麗（Maya Parish 飾）的調(diào)酒師，相互吸引的兩人很快就墜入了愛河之中?！　u漸的，瑪麗察覺到了雅各布異于常人的地方，他的行為舉止不僅變得越來越古怪，雅各布還必須時時克制自己越來越?jīng)坝康氖妊榱双@得血液，雅各布?xì)⒘巳?，現(xiàn)在，他需要擔(dān)心受怕的事情又多了一件，如何躲避警察的調(diào)查成為了重中之重?？杉幢闳绱?，雅各布還是深深的愛著瑪麗，為了能夠?qū)旣惲粼谏磉?，雅各布不得不做出更加出格的舉動。

　　周公是個70多歲的富翁，因?yàn)槠拮硬荒苌肴€年輕的姑娘生個兒子繼承產(chǎn)業(yè)。一次偶然的機(jī)會他相中了一個名叫帶水的漁家女，于是買了好多時髦的東西送給帶水的父母作為聘禮。而正值懷春佳齡的帶水卻看上了周的手下——風(fēng)度翩翩的夏公子，夏公子以捧帶水做明星的托口哄住她。怎料帶水舉止粗俗，品性不羈，忍受不了嚴(yán)格的瘦身美體的訓(xùn)練。而一直暗戀帶水的炒蜆仔公子嬌眼看著心上人執(zhí)迷不悟地做富貴癡夢，展開了一場諧趣層生的奪妻大戰(zhàn)……

　　《尸骨袋》改編自斯蒂芬·金（Stephen King）的同名恐怖小說?！　充N小說作家Mike Noonan（皮爾斯·布魯斯南 Pierce Brosnan 飾），在妻子Jo(安娜貝絲·吉什 Annabeth Gish 飾)死后，無法走出悲痛的深淵。他不斷地夢到和Jo一 起購買的緬因州湖畔別墅，夢到裝在袋子里的腐爛尸骨，夢見Jo也從裹尸袋中奔跑而出。終于他在Jo的召喚下回到了那棟詭異的別墅。在那里，他卷入了一樁年輕美貌寡婦與家財萬貫的祖父對小女孩的撫養(yǎng)權(quán)爭奪戰(zhàn)，并不時遭遇神秘鬼魂的騷擾。那些不斷升級的噩夢，還有神秘鬼魂的騷擾，都讓他意識到，這個小鎮(zhèn)隱藏著一些秘密，而死去的Jo也有事情想要告訴他……

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