被驯服的女人

Ayşe, 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

离家十六年的陈家辉（陈坤 饰）在得知父亲陈为民（王劲松 饰）病危后，重返故乡。但父亲未留下只言片语便匆匆离世。葬礼之后，陈家辉与哥哥陈家兴（王砚辉 饰）、姐姐陈家媛（刘敏涛 饰）在整理父亲遗物时，逐渐察觉父亲身上似乎隐藏着许多不为人知的秘密。带着困惑与心结，陈家辉开始探寻父亲生前的生活轨迹，试图拼凑出父亲真实的模样。在这个过程中，一段埋藏了16年的家庭秘密逐渐被揭开，而这个秘密的核心，正是家辉与父亲之间一生都未能解开的那个结。

在妻子的意识被转移到机器人中后，一个鳏夫发现自己陷入了一个致命的三角恋中，嫉妒的人工智能竭尽全力阻止他与一个新女人继续前进。