ふわふわLOVE（番外編） ふわみん

致命之旅

 一對關系緊張的夫婦來到一座偏遠的小屋，各自暗藏謀害對方的企圖。在寂靜的荒野中，一場驚心動魄的對決即將上演。

木蘭：血刃

女將木蘭卸甲歸鄉，驚見母亡父死、弟被擄走。她深入黑礦救弟后，卻目睹其弟慘死惡吏之手。在追查中，她逐步揭開雍州官商勾結的黑幕：惡霸劉煥私鑄假幣、殘害百姓；州官嵇世勛表面賑災，實則借軍功之名盤剝鄉里、殺良冒功。木蘭孤身復仇，手刃劉煥；更識破嵇世勛偽善的面具，亦割其耳并押送天子處置，為民除害。最終她拜別父母家人，獨自前行，誓將星星之火帶到更多地方，點亮人們心中的正義之火。

好像一切都很糟糕

Ay?e, 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

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