过错-激情假期

　　科学家们在一个小镇的供水系统中下毒，把居民变成杀人狂魔，他们互相残杀，任何人都能通过。

早苗的恋人，在雨夜惨死于都市传说中「祸祸女」的诅咒之下——传闻这只女鬼带着潮湿的黑发，循着背叛者的气息索命。亲眼目睹恋人被拖入黑暗的早苗，被无尽的恐惧与恨意啃噬，她循着「祸祸女」的传说碎片，踏入被诅咒笼罩的阴暗角落。调查中，她撞见无数令人寒毛倒竖的诡异异象，每一步追查都在揭开恋人死亡背后的谎言，那只游荡的女鬼，始终在她身后带着冰冷的注视，等着她看清藏在黑暗里的真相。

打破白娘子传说的固有框架，以许仕林后人许博森的现代视角切入，将千年神话与当代青年的成长、抉择结合，把 “救母” 而非 “爱情” 作为核心主线，赋予经典故事全新的情感内核与现实思考。

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