第三雙鞋印

? 7.6 播放：70萬(wàn) 2026-04-22
主演：陸昊 蒙璐 

都市江城一個(gè)工地旁的花壇中，發(fā)現(xiàn)一名女尸。該死者二十多歲，漂亮?xí)r尚，卻離奇死亡。刑警支隊(duì)長(zhǎng)宴雁負(fù)責(zé)偵破這起無(wú)名女尸案，調(diào)查發(fā)現(xiàn)死者身上錢物被洗劫一空，無(wú)法查明其身份。眾警官幾經(jīng)波折，排除嫌疑人張鈞后，抓獲了重大嫌疑人劉思敏。然而，在其認(rèn)罪后，思緒縝密的宴雁又發(fā)現(xiàn)了疑點(diǎn)，真正的元兇終于被抓獲。

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? 播放 第三雙鞋印

劇情提要

都市江城一個(gè)工地旁的花壇中，發(fā)現(xiàn)一名女尸。該死者二十多歲，漂亮?xí)r尚，卻離奇死亡。刑警支隊(duì)長(zhǎng)宴雁負(fù)責(zé)偵破這起無(wú)名女尸案，調(diào)查發(fā)現(xiàn)死者身上錢物被洗劫一空，無(wú)法查明其身份。眾警官幾經(jīng)波折，排除嫌疑人張鈞后，抓獲了重大嫌疑人劉思敏。然而，在其認(rèn)罪后，思緒縝密的宴雁又發(fā)現(xiàn)了疑點(diǎn)，真正的元兇終于被抓獲。

幕后花絮

近戰(zhàn)

　　身陷囹圄的特種兵麥克（杜夫·龍格爾 Dolph Lundgren 飾）終于迎來(lái)了被保釋的那一天，然而，令麥克沒(méi)有想到的是，保釋他的不是別人，居然是美國(guó)大使館的官員克萊夫（邁克爾·帕爾 Michael Paré 飾）。原來(lái)，有一項(xiàng)充滿了危險(xiǎn)和變數(shù)的任務(wù)擺在眼前，而身經(jīng)百戰(zhàn)經(jīng)驗(yàn)豐富的麥克則是這項(xiàng)任務(wù)最合適的執(zhí)行者。　　根據(jù)提示，麥克需要去營(yíng)救一位名叫安娜（吉娜·瑪麗 Gina Marie 飾）的女子，安娜遭到了武裝綁架，有可能被敵方洗了腦。而當(dāng)麥克找到安娜時(shí)，安娜卻告訴麥克她被綁架一說(shuō)是子虛烏有，而麥克要將她帶走的行為才是真正的綁架。安娜和克萊夫之間，一定有一個(gè)人在說(shuō)謊，沒(méi)過(guò)多久，陷入了困惑之中麥克就發(fā)現(xiàn)，他和安娜已經(jīng)成為了眾矢之的。

好像一切都很糟糕

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