換一下吧

　　這是一對(duì)父子的傳奇歷險(xiǎn)，也是兩個(gè)野心家的一拍即合。從沈陽(yáng)到美國(guó)，從3歲到17歲，彈琴勝似取經(jīng)，八十八鍵多過(guò)八十一難，父子心無(wú)雜念，只管埋頭向前，兩人赤手空拳讓美國(guó)殿堂藝術(shù)精英們刮目相看。

　　半年前，17歲的布蘭特（Xavier Samuel 飾）與父親駕車(chē)遭遇車(chē)禍，父親身亡，布蘭特和母親始終沒(méi)有從傷痛中走出。同校的勞拉（Robin McLeavy 飾）邀請(qǐng)布蘭特同去舞會(huì)，布蘭特木訥的予以拒絕，轉(zhuǎn)頭陪伴自己的女友赫莉。當(dāng)天布蘭特獨(dú)身在野外攀巖，當(dāng)他來(lái)到山頂時(shí)，久候多時(shí)的勞拉之父將他麻醉帶走?！　〔继m特醒來(lái)時(shí)，發(fā)現(xiàn)自己被困在勞拉家中，這個(gè)看上去文靜的微胖女孩居然利用自己的父親將多位男孩綁架，父女二人殘酷的虐待他們，最后用電鉆把他們的頭骨鉆開(kāi)變成嘶啞的癡呆。勞拉的母親也不能免于折磨，她形容枯槁奄奄一息，被父女二人視為無(wú)物。面對(duì)這對(duì)關(guān)系曖昧的怪異父女，布蘭特必須用盡一切辦法自救……

 影片改編自Samuel D. Hunter創(chuàng)作的同名戲劇，講述在愛(ài)達(dá)荷州鄉(xiāng)村一個(gè)破舊的公寓里，重達(dá)272公斤的英語(yǔ)教師查理（布蘭登·費(fèi)舍 飾）隱居避世，固執(zhí)、堅(jiān)決地要把自己吃死。查理在中年時(shí)期為了同性情人拋棄家人，但情人過(guò)世后因?yàn)楸瘋蛢?nèi)疚暴飲暴食，并且嘗試與17歲的女兒艾莉（薩迪·辛克 飾）修復(fù)關(guān)系。隨著查理越來(lái)越接近不可避免的命運(yùn)，他的朋友麗茲（周洪 飾），一個(gè)憤世嫉俗的無(wú)神論者護(hù)士，以及埃爾德·托馬斯（泰·辛普金斯 飾），一個(gè)年輕的傳教士都試圖在查理身上找到能被拯救的意志，無(wú)論是肉體上還是精神上。然而，只有與查理關(guān)系疏遠(yuǎn)的女兒艾莉才能讓他看到目前絕望狀態(tài)之外的未來(lái)，艾莉雖然尖酸刻薄、充滿(mǎn)仇恨、渾身是刺，查理卻能在她身上找到最后一次贖罪的機(jī)會(huì)，甚至可能是一絲希望。

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