色欲之死5

德州棉花

　　一位年迈的老警察深信在他小镇上被捕的神秘陌生人是无辜的，进而展开的调查就像捅了马蜂窝一样，将永远改变这个镇子。

毛骨悚然撞鬼经 25周年特别篇

逃离地下天堂

 西元2274年人类居住在由电脑控制的城市中，在这个城市中无优无虑，可自由毫无拘束的追求享乐；但到30岁时每一个人必须接受考验，一个探究永恒、重生的试炼……

好像一切都很糟糕

Ayşe, 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