性感女郎

　　故事发生在万圣节的当晚，塔拉（Jenna Kanell 饰）和道恩（Catherine Corcoran 饰）醉醺醺的从一个派对中离开，走在清冷的大街上，两人打算去一家披萨店弄点吃的，一个小丑打扮的男人尾随她们也进入了店里，虽然小丑的样貌十分可怖，但个 性似乎还挺可爱的，除了他把店里的厕所弄的一团糟，气炸了店主。　　之后，塔拉和道恩离开了店里，塔拉进入了一间公寓上厕所，道恩在路边等她，小丑再度出现在了她的身后，这一次，小丑想做的便不仅仅是逗她笑这么简单了。小丑打晕了塔拉，当塔拉再度醒来时，映入眼帘的，是被倒挂的道恩和在一边手持电锯的小丑。

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

探索现代浪漫的起起落落。

　　Feature adaptation of the 1957 novel by Ayn Rand.