妻子服務

　　World War II is around the corner, but the only thing Sally Bauer can think of is the ocean. Her dream is to swim across the English Channel. Her father has tried to exorcise her obsession with swimming since she was a toddler, without success. An unwanted pregnancy forces her to abandon her dream – and herself. The child’s father does not want to be involved, so as a woman in the ‘30s in Sweden, Sally has no choice but to do what is expected of her: to be a mother. There is no place left for her dreams and Sally is pulled into bottomless darkness, until her sister Carla saves her. With renewed purpose, together the sisters begin to dismantle the conventions they are constantly facing. In late August 1939, Sally stands on the shore at Dover and takes her first step into the English Channel. She swims across the open and icy sea for 15 hours, waving to the Navy who are readying for war. A couple of days after Sally swims ashore at Calais, Poland is invaded.

　　一次演奏會上，小提琴家瑞安（萊斯利?尼爾森 Leslie Nielsen 飾）邂逅了美艷婦人勞倫（凱麗?勒布克 Kelly LeBrock 飾），勞倫對他大拋媚眼，嚇得瑞安不知所措。聯(lián)合國秘書長羅伯特將到哥倫比亞作反恐演講，勞倫的丈夫希賓負責安排一切。這天瑞安收到了勞倫的邀請，并注明如果他不前來她將自殺。揣揣不安的瑞安如約來到了勞倫的別墅，卻發(fā)現(xiàn)希賓早已倒地身亡。突然，一名獨眼獨臂獨腿的男人出現(xiàn)將瑞安擊暈了。　　當瑞安醒來后，他已被警察抓了起來，荒謬的是，瑞安謀殺希賓的罪名成立了。盡管他一再分辯，但他還是被押往監(jiān)獄。途中囚車意外翻下了山崖，大難不死的瑞安開始了亡命天涯，他一方面要逃避追捕，一方面要設法找證據(jù)還自己一個清白！

　　四名青少年在一次公路旅行中決定繞道而行，發(fā)現(xiàn)自己在肯塔基南部森林深處的鬼屋“萬圣節(jié)尖叫公園”。在目睹了各種各樣的折磨和gore之后，他們開始懷疑自己經(jīng)歷的事情是否有點太現(xiàn)實了。在他們知道之前，他們中的每一個人都被俘虜了，并成為他們原本認為可怕的樂趣和游戲的一部分…

Ay?e, 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