酸世代

　　卡洛斯在一家银行支行当总经理，最近他正和妻子玛尔塔闹别扭。风和日丽的一天，他送两个孩子马科斯和莎拉上学，却发生了改变他人生命运的事。崭新的汽车上莫名其妙地出现一部手机，一个陌生男人打来电话，号称卡洛斯的车里被安置了一颗炸弹。而恰在此时，一个神秘的黑衣摩的男尾随而至。这是一个恶作剧，还是真实的绑架勒索？事情的缘起何故，卡洛斯一家命运又该如何？这部西班牙电影将为你呈现一百分钟的惊心动魄……

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

讲述了一对夫妻搬进梦想新家后的惊魂经历，事业有成的销售主管阿文与怀孕的妻子，本以为搬进了理想住所，却很快被隔壁邻居的诡异行为缠上。从深夜异响、楼道鬼影到家中物品莫名移位，超自然事件不断升级。随着调查深入，他们发现邻居并非普通住户，而是与男主的过去、家族禁忌甚至一场古老诅咒有着致命联系。所谓“家”，其实是一个早已布好的夺命囚笼。