性之劇毒

　　1）因和同學(xué)打賭賭輸，樸貞元、云貞等三個(gè)女孩被迫潛入傳說(shuō)中鬧鬼的廢棄校舍內(nèi)探險(xiǎn)。她們戰(zhàn)戰(zhàn)兢兢、心慌意亂，鬧出不少自己嚇自己的笑話(huà)。然而，女孩們的吵鬧驚動(dòng)了此前曾死在這里的一個(gè)女孩的怨靈，她似乎有意將這三個(gè)冒失的闖入者留在這里。　　2）圓圓和齊齊是一對(duì)情同姐妹的好朋友，但是她們的友情正受到嚴(yán)峻的考驗(yàn)。她們同時(shí)喜歡上帥氣的學(xué)生會(huì)主席，也因成績(jī)優(yōu)秀將共同角逐校長(zhǎng)的推薦升學(xué)資格。一切朝著不可預(yù)測(cè)的方向發(fā)展。　　3）高中男孩具有敏感體質(zhì)，他能看到周?chē)墓砘辍Ｋ诮淌抑斜灰粋€(gè)少女的鬼魂纏上，女孩死于非命，而殺害她的兇手的鬼魂不久也尾隨前來(lái)……

當(dāng)他們假裝還愛(ài)著對(duì)方的時(shí)候，YouTube上的“丁”和“寶石”情侶?在正式分手前，這對(duì)夫婦為了最后一篇內(nèi)容而放棄了鉆石戒指的主要制造商。直到我遇到了一位著名的“完美”生活教練，他利用孩子作為謀生手段，并打算從妻子那里獲得監(jiān)護(hù)權(quán)，他們?nèi)齻€(gè)別無(wú)選擇，只能互相幫助來(lái)完成這次營(yíng)救任務(wù)。當(dāng)車(chē)開(kāi)走的時(shí)候，突然，這個(gè)可怕的神秘人從黑暗中冒了出來(lái)，導(dǎo)致他的車(chē)出了事故，無(wú)法繼續(xù)前進(jìn)，他自告奮勇地把這三個(gè)人帶到一個(gè)偏遠(yuǎn)的玉米地的廢棄房子里過(guò)夜。面對(duì)“Mahathirachai”，一個(gè)邪惡的鬼魂，包括房子里的居民，他們既看不見(jiàn)，也看不見(jiàn)。起初，他們認(rèn)為這所房子里的鬼故事都是由幻象引起的，但當(dāng)他們發(fā)現(xiàn)每個(gè)人都和一個(gè)來(lái)自前國(guó)家的鬼魂有關(guān)時(shí)，他們花了幾百年的時(shí)間想要從他們那里得到一些東西!

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

　　邁可透過(guò)一張光碟，參加了一場(chǎng)刺激的游戲，在月黑風(fēng)高的晚上他發(fā)現(xiàn)自已稍稍走進(jìn)一間屋子并從廚房拿刀子殺死一個(gè)沈睡著的男人當(dāng)邁可醒來(lái)時(shí)他興奮極了，這一生他從沒(méi)有這么刺激和開(kāi)心過(guò)，第二天當(dāng)他看到新聞。天啊！那件謀殺案真的發(fā)生了嗎？后來(lái)第二張CD又寄來(lái)了，他決定結(jié)束這場(chǎng)荒謬的游戲，但主謀者從邁可的電腦中走出來(lái)，他竟是一具有形象的＂人＂，并且一再要脅邁可再玩下去，也挑唆他面對(duì)恐懼和幻象，邁可就像受催眠一般他無(wú)處可逃，主謀者已經(jīng)完全控制了他使他分不清什么是真什么是假……