交换情侣

　　迈可透过一张光碟，参加了一场刺激的游戏，在月黑风高的晚上他发现自已稍稍走进一间屋子并从厨房拿刀子杀死一个沈睡著的男人当迈可醒来时他兴奋极了，这一生他从没有这么刺激和开心过，第二天当他看到新闻。天啊！那件谋杀案真的发生了吗？后来第二张CD又寄来了，他决定结束这场荒谬的游戏，但主谋者从迈可的电脑中走出来，他竟是一具有形象的＂人＂，并且一再要胁迈可再玩下去，也挑唆他面对恐惧和幻象，迈可就像受催眠一般他无处可逃，主谋者已经完全控制了他使他分不清什么是真什么是假……

　　音乐厅中传来枪声，观众们一片惊慌。一位外国女子（露西•曼娜海姆饰）询问理查德•汉内（罗伯特•多纳特饰）是否可以在他家中过夜。次日该女子在被杀之前告诉理查德必须阻止间谍组织“三十九级台阶”将国家机密偷偷送出英国。汉内为了证明自己并不是杀人凶手无奈前往苏格兰高地寻找线索，在火车上他寻求一位叫做帕梅拉（玛德琳•卡罗尔饰）的金发年轻女子帮助，但她却马上向警察告发了他。他找到了“三十九级台阶”的领导人乔丹教授，但随即被陷害入狱。侥幸逃脱后又由于帕梅拉的告发被两位伪装成便衣警察的人带走，并且他们还把帕梅拉和他铐在了一起。于是两人携手逃脱了出来并取得了互相的信任，然后他们再次回到音乐厅，汉内看到了上次就见过的表演。他向号称可以回答任何问题的“记忆先生”（怀特•沃森饰）提问：“什么是三十九级台阶“，于是……　　希区柯克曾说“记忆先生“是他最喜欢的角色之一，这个角色建立在一个名叫达塔斯的真人基础上，他自己小时候在伦敦看过他的表演。

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

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