劇情縱覽
更多外文名:Si zhong zhen mian mu 近年,香港出現以手提電話聯絡(俗稱;賣私鐘)的新興色情行業。主持人黃沾、鄭維嘉揭開此行業的真面目。除了訪問馬夫欺騙少女的手法及;私鐘妹 rdquo;訴說賣y-的經歷外,攝制隊更隨馬夫到深圳拍攝大陸少女到港賣y-交易過程,以及幕后人員扮p客拍攝的內容。
更多外文名:Si zhong zhen mian mu 近年,香港出現以手提電話聯絡(俗稱;賣私鐘)的新興色情行業。主持人黃沾、鄭維嘉揭開此行業的真面目。除了訪問馬夫欺騙少女的手法及;私鐘妹 rdquo;訴說賣y-的經歷外,攝制隊更隨馬夫到深圳拍攝大陸少女到港賣y-交易過程,以及幕后人員扮p客拍攝的內容。
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
1453年,東羅馬帝國陷落后,地處中歐的神圣羅馬帝國,不得不直接面對土耳其人的侵擾。土耳其人熱衷擴張,雖然他們信奉伊斯蘭教,但他們認為他們才是真正的“羅馬皇帝”,神圣羅馬帝國的皇位,已由哈布斯堡王朝掌權兩百年,他們是基督教世界的最后保衛者,雙方再維也納一決高下:一方信誓旦旦,另一方誓死捍衛。
一對兄弟姐妹在一家偏僻的汽車旅館里度過了一個可怕的惡作劇之夜。
當社區的毒品問題開始影響居民并引發動亂時,人們將求助的目光投向了警方。然而,這些本應保護和服務民眾的警官們,卻對此問題視而不見。一群熱心居民組成民防隊,誓言將肅清不法掃蕩三害!