第一次經驗應該和繼母一起做

　　闖蕩好萊塢失敗的演員里根·皮爾斯為工作在去往路易斯安那州的一個小鎮什里夫波特路上，被歹徒綁架至一個沼澤地附近的小屋，歹徒折磨并威脅他用推特賬戶發布并上傳妥協博文，他改如何逃脫困境？

《倫敦地下城市》一個女記者被派遣到羅馬尼亞首都布加勒斯特調查一個地下自殺邪教“死魂靈”。她很快就陷入了他們的黑暗世界，無法找到回頭路，從而被迫加入他們，迎接一項極為恐怖的事情... ...

這部電影告訴了何塞·桑切斯的故事，他留著令人難忘的小胡子，有著銀色的舌頭，雄心勃勃。在經歷了一段艱難的商業生涯后，Sánchez變成了令人恐懼的政治活動家“El Serpiente”。然而，為了保持領先地位，他需要完成最后一筆交易，這是最危險的一筆交易——這一次，他的口才可能還不夠。

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