哥哥不挑食女人不挑食

肿瘤科大夫周永阳，因为一场意外晕倒，醒来后他发现自己可以看到别人的生命倒计时。 　　他让只有三天剩余的患者放弃治疗，却被其家属泼水。他目睹了一场街头抢劫，亲眼看到只剩一分钟寿命的劫匪被警察击毙。 　　小李、小芳、东东，他的神秘技能到底能不能拯救他们？

　　故事设定在“猿流感”病毒蔓延全球的背景下，人类几近毁灭，而进化为高级智慧生物的猿类一跃成为食物链顶端的王者。时移世异，暴虐的猿类首领赛撒（凯文·杜兰 Kevin Durand 饰）在一片废墟中建立起猿族历史上的第一个帝国——“猩球”崛起，这是世界新秩序诞生的黎明时分。神秘的人类女孩诺娃（弗蕾娅·艾伦 Freya Allan 饰）的出现，引起了赛撒的警觉。她似乎掌握着一个巨大的秘密，不仅关乎人类的存亡，甚至可能再度颠覆整个“猩球”。被迫逃亡的诺娃在躲避赛撒军队的过程中，与青年猿类诺亚（欧文·泰格 Owen Teague 饰）的命运交汇，揭开了一段冒险的旅程。

　　16岁男孩赫尔穆特·胡贝纳 (Helmuth Hübener) 在目睹犹太朋友被纳粹逮捕后，与朋友卡尔和鲁迪组建了抵抗组织。他们的勇敢行为使他们面临纳粹德国最高法院的审判。

1988年，基隆港烟尘蔽日，林小丽（白小樱 饰）在迷惘中长大，渴望逃离黑暗。 直到遇见无惧眼光、自在生活的李莉莉（林品彤 饰），她才第一次看见世界的色彩。 然而，这份向往却触动了母亲（汤毓绮 饰）的过往创伤。 当年，她也曾憧憬未来，却被现实困住。 女孩与女人，在交错的命运中互相映照，像一面镜子照出彼此的伤却无能为力。

　　在某临近海滨的医院内，住着一个无依无靠的中年男子金珉昊（千浩振 饰）。由于左半边身体失去知觉，加上脑神经受损，因此他无时无刻不想了结这苦难的人生。这一日，医院送来了另一位没有任何亲眷的病号，他的名字叫做朴尚桦（刘海镇 饰），因脑部受损而失去了记忆，与金安排在同一个加护病房。朴的到来，激起金珉昊心中无限的波澜。这两个男人似乎曾有着无限的仇恨与瓜葛，致令金想尽各种办法要置其于死地，而渐渐恢复记忆的朴也将同样的仇恨倾泻于金珉昊。　　与此同时，神秘的白医生一反常态对两个男人进行特殊关护，并且用匪夷所思的治疗方法帮助他们恢复健康。这一切的背后，似乎隐藏着更大的谜团……

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