脫衣女仆2

　　As its title suggests THE FABULOUS WORLD OF JULES VERNE is an awe -inspiring, meticulous cinematic rendering of the aesthetic and conceptual inventions of proto-science fiction genius Jules Verne, based on one of the famed author's lesser known short stories. However, the real star of the film is the intricate art direction, successfully rendering the visual style of nineteenth century woodcuts and engravings into motion pictures, creating a stylized and surreal graphic world within which Verne’s fanciful tale unfolds. A brilliant scientist, Dr. Roche, perches high above a stormy sea, inventing a powerful explosive, when he and his assistant are kidnapped by an evil businessman, Artigas. Taken by submarine to Artigas' volcano headquarters, Roche is tricked into developing his experiment for evil intentions. The scientist’s assistant, Simon, struggles all the while to free himself and warn Roche. A magical world of baroque submarines and sailing ships, killer octopus, undersea bicycles dazzles audiences as human actors, puppetry, animation and fanciful scenic design interact to create a cinematic experience that is unique by any standards. Mixing slapstick comedy, action adventure pacing and Mélies style film magic, this little known Czechoslovakian gem transcends the juvenile literature at its source to create cinematic art of the highest order....

79歲的西班牙女子瑪麗亞·安赫萊斯獨(dú)自生活在摩洛哥的丹吉爾，享受著自己的日常生活。然而，當(dāng)她女兒從馬德里趕來(lái)，想要賣掉她一直居住的公寓時(shí)，她的生活徹底被打亂了。決心留下來(lái)的她，竭盡所能想要奪回自己的家與財(cái)物，卻意外重拾了愛(ài)情與感官的愉悅。

本片改編自同名小說(shuō)。櫻井萌（當(dāng)真亞美 飾）從小體弱多病，無(wú)法上學(xué)，也沒(méi)有朋友，每天獨(dú)自度過(guò)時(shí)光。她一直有一個(gè)小小的夢(mèng)想——在自己生日那天，與喜歡的人一起觀賞據(jù)說(shuō)能讓戀人永遠(yuǎn)相守的六月滿月“草莓月亮”。然而，15歲那年冬天，她被告知生命所剩無(wú)幾。                                                                      　　從醫(yī)院回家的路上，萌邂逅了命中注定的人，并下定決心進(jìn)入高中就讀。入學(xué)典禮當(dāng)天，她在初次見(jiàn)面的情況下，向同班同學(xué)佐藤日向（齋藤潤(rùn) 飾）突然告白，人生第一次戀愛(ài)就此開(kāi)始。終于到了共賞草莓月亮的那一天，但從那天起，萌突然從學(xué)校消失，日向再也無(wú)法聯(lián)系上她。而萌離開(kāi)的真相，以及13年后傳來(lái)的秘密究竟是什么…

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