朝鮮風(fēng)月錄 后篇

　　故事圍繞一名患有社交焦慮的十二歲少年展開。在男子水球夏令營的殘酷社交法則中掙扎求生時，他那青春期特有的不安，隨著夏日推移竟發(fā)酵成一場撕裂靈魂的心理酷刑。

　　《透明人與蠅男 》是由村山三男導(dǎo)演的特攝科幻電影。一個發(fā)現(xiàn)可以把人變成和蒼蠅一樣大小的藥品的男人，開始對給自己安上戰(zhàn)犯的罪的人復(fù)仇。某個物理學(xué)家為了從蠅男的恐怖中拯救人們決心成為透明人。

　　民國時期，一代奇人關(guān)師爺（梁家仁飾）行走江湖，巧遇妖狐作祟，斗法降妖，因此結(jié)識了，逢賭必輸?shù)娜~飛（林楓燁飾），二人聯(lián)手救人，關(guān)師爺斗法妖狐（付赫安琪飾），就此結(jié)下不解之緣。此事過后，關(guān)師爺巧妙化解青樓纏怨，為死去的冤者伸冤，卻再次與怪事纏身的葉飛相遇，于是，上演了一出“葉飛棒打偷雞賊，黃仙尋仇斗師爺”的故事。

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