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剧情提要
在丈夫多年的虐待之后，一位名叫Emmanuella的妇女被推向了崩溃的边缘。她雇了一个杀手来对付她的丈夫，但就在她认为自己的麻烦已经结束时，杀手勒索了她。当她丈夫的商业伙伴努力证明自己有罪，杀手继续威胁她新找到的安全时，Emmanuella努力保持自己的清白，并防止她天真的继女卷入她制造的危险网。
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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
无瑕修女
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