随着妍静突然宣布重返职场，　　她们发现自己离家的时间明显增多。　　之前一直疏远她心爱的钢琴的米娜，　　开始回避家人。　　之前一直回避运动的镇秀，突然每个假期都离家去锻炼。　　随着秘密越积越多，沟通也变得支离破碎，　　三人变得疏远却又亲近。　　然后，有一天，一次偶然的相遇，　　将妍静、米娜和镇秀的秘密串联了起来…… 　　嘘！当你打开这扇秘密之门，　　一个非常特别（？）的家庭故事就此展开！

好像一切都很糟糕

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

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好像一切都很糟糕

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