朋友的妻子债务出售

　　本片根据社会活动家约翰·戴维森的人生经历改编。他年少时被诊断出患有妥瑞氏综合征，会不受控制地抽动身体或口吐恶言。妥瑞氏综合征迫使约翰与同龄人疏远，而他则不懈与这种鲜为人知的症状作斗争，积极为妥瑞氏人群发声。

故事围绕的士司机宇佐美浩二（木村拓哉 饰）展开，他每日奔波于都市间工作养家，却因女儿的学费、的士验车费、房屋租金等接踵而至的现实压力而身心俱疲。某日，浩二接到一项特别的委托——接载年迈的高野堇女士（倍赏千惠子 饰）从东京柴又前往神奈川叶山的养老院。“在离开东京之前，想先到几个想去的地方看看”，堇女士淡然请求。随着的士驶过日本的大街小巷，陌生的两人逐渐打开心扉，堇女士也徐徐道出自己跌宕的人生过往。这趟偶然的旅程，不仅触动了他们的心灵，也让二人在平凡的日子中，为彼此的人生留下难忘的美好印记。

 奥吉（雅各布·特瑞布雷 Jacob Tremblay 饰）是一个10岁的男孩，除了头戴一个巨大的太空头盔外，他和其他的同年龄孩子别无二致。头盔下隐藏了奥吉因为各种手术而伤痕累累的脸庞，它不仅完美的隐藏起了奥吉脆弱自卑的内心，也成功的防止了奥吉的模样吓到别的孩子。奥吉没有上过学，他的所有文化知识都是母亲伊莎贝尔（朱莉娅·罗伯茨 Julia Roberts 饰）在家教授给他的。然而，伊莎贝尔渐渐感觉到，家庭课堂无法满足奥吉的成长需要，除了学习知识，奥吉还必须学会的，是如何同除了家人以外的人交流。在忧虑重重之中，伊莎贝尔将奥吉送入了一间公立学校里，在那里，奥吉面临的是他人生中必须要战胜的挑战。

　　An L.A. cop discovers a local task force is hiding a secret that puts the residents of his childhood neighborhood in danger.

　　影片在舒缓的节奏下呈现了一位女性重塑自我之路，故事主人公安娜为她十几岁时犯下的谋杀罪已经服刑15年，虽然服刑期满，但周围异样的眼神意味着 对她的审判仍未结束。安娜离家远行来到一个小镇并找到工作，准备开启新生活，但她仍需与封闭、恐惧、偏见不停斗争，那些旧日时光留下的黑洞，必须由她亲自填补。

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