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
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
这部电影讲述了桑德拉·佩隆军官的故事。在她辉煌的军旅生涯巅峰时期,她却突然辞职。军方高层随即展开调查,而一张桑德拉身着军装、被绑在树上、看似昏迷不醒的照片的流传更是让调查迅速升温。作为加拿大步兵部队的首位女军官,她的职业生涯本不该如此结束。面对记者的围追堵截、难以适应平民生活以及调查的持续追踪,她否认自己遭受虐待,并拒绝提起诉讼。随着桑德拉讲述她在加拿大步兵部队的非凡经历、训练以及海外服役的种种细节,人们逐渐明白,这个真实的故事讲述的是,她最大的敌人其实就站在她这边的战友身边。影片改编自桑德拉·佩隆的回忆录《战场上的杰出人物》(Out Standing In The Field)。