虐之恋

　　某纺织厂的音乐部教师东植对锦川发生的一起杀人事件表示出极大的兴趣。　　某天，东植从女工郭善英处收到一封情书，并向舍监告发，善英被工厂开除。曾鼓励善英写信的朋友赵庆熙借着钢琴辅导的契机开始出入东植家。为了贴补家计，东植妻子做了很多裁缝活儿，身体越来越虚弱。东植委托庆熙寻找到一名合适的下女，帮助持家。妻子怀孕回娘家的当下，庆熙借机向东植表达了爱意，却受到辱蔑被撵了出去。这一切都被窗外的下女看到眼里。下女借机诱惑东植，并与之发生了肉体关系。三个月后，下女怀孕。东植的妻子知道真相后，将下女推下楼梯，导致流产。失去孩子的下女怒火中烧，性情开始变得暴烈。结果，下女将东植夫妇俩的孩子也推下楼梯，藏了起来。下女以向工厂曝光所有事实相要挟。为了保住整个家庭，东植将二层的房间让给下女。最后，准备和下女一起吃耗子药自杀的东植看到死在台阶上的下女，毅然抛弃了她，重新回到了妻子身边。这时，电影画面再次回到东植夫妇看着有关那起杀人新闻的画面，东植不禁说道：这样的事情有可能发生在任何一个人的身上。

 菜埔（庄益增 饰）是一家雕塑厂的夜间保安，家中有一位重病的老母亲需要照顾。肚财（陈竹昇 饰）是菜埔唯一的朋友，菜埔经常在值夜班的时候把肚财叫过来和他作伴。一天，两人突发奇想决定看一看菜埔的老板黄启文（戴立忍 饰）的行车记录仪里记录了哪些影像，希望向来风流的老板能够贡献出一些精彩的片段以解两个独身男人内心里的寂寞之苦。行车记录仪所记录的影像果然没有让菜埔和肚财失望，但与此同时，两人也发现了黄启文的许多不可告人的秘密。实际上，菜埔和肚财的一举一动皆没有逃过黄启文的眼睛，为了保住自己的地位和名声，他决定采取一些必要的行动。

一位外向、人缘好的酒吧老板，虽然平日喜欢与人群为伍，内心深处却一直隐藏着对十年前逝去恋人的细腻思念。每当他遇见容貌神似她的女子，总是不自觉地驻足凝望，深陷于回忆的漩涡中。

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