女犯罪史 女の犯罪史
在小鎮(zhèn)漁會(huì)工作的君子(波多野結(jié)衣飾演),與漁夫義男透過相親而結(jié)婚。婚後,君子發(fā)現(xiàn)義男只是把她當(dāng)作煮飯生小孩的工具,心情不好時(shí)更會(huì)對(duì)她拳打腳踢。就在君子對(duì)生活感到絕望的時(shí)候,她遇到一位從東京來工作的男子-戶塚。溫柔的戶塚讓君子開始渴望愛情,一段激情四射的禁忌戀情就此展開,然而這也是君子墜落不幸深淵的開始…。
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劇情提要
在小鎮(zhèn)漁會(huì)工作的君子(波多野結(jié)衣飾演),與漁夫義男透過相親而結(jié)婚。婚後,君子發(fā)現(xiàn)義男只是把她當(dāng)作煮飯生小孩的工具,心情不好時(shí)更會(huì)對(duì)她拳打腳踢。就在君子對(duì)生活感到絕望的時(shí)候,她遇到一位從東京來工作的男子-戶塚。溫柔的戶塚讓君子開始渴望愛情,一段激情四射的禁忌戀情就此展開,然而這也是君子墜落不幸深淵的開始…。
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好像一切都很糟糕
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