新婚夜把穿婚纱的新娘绑着玩

 动画改编自法国作家大仲马的同名小说《三剑客》。科琳娜（Kelly Sheridan 配音）出生在一个民风淳朴而又保守的小镇之中，从小，科琳娜的性格就有些像男孩子，勇敢而又执着。她一直梦想着能够前往大都市巴黎，在那里成为一名剑客，然而，在那个年代，女孩子想要成为剑客，那简直就是一件不可能发生的事情。幸运的是，科琳娜结识了三位和她志同道合的姑娘们——艾拉米娜（Kelly Sheridan 配音）、薇薇卡（Cassidy Ladden 配音）和蕾妮（坎迪斯·麦克卢尔 Kandyse McClure 配音），三人一拍即合，决定相互帮助，实现她们彼此的梦想。在巴黎，三个姑娘不仅女扮男装，混入化装舞会，甚至在机缘巧合之下拯救了王子的性命，充满了刺激的冒险就此拉开序幕。

　　S铜山的女人：失意的保险公司业务员山边夏美（石原里美 饰）和同僚桑原（小池彻平 饰）在归途中误入被封闭多年的S铜矿山，由此遭遇了一连串恐怖的诡异事件；小智：被情感困扰的女孩里奈（刚力彩芽 饰）按照都市传说给自己的手机打了电话，并连念三遍“小智”，希望解开心中疑惑，谁知此后却被小智缠上；凶手是谁：看似阴沉的派遣职员熊谷（北乃纪伊 饰）自称能够看到别人看不到的真相，她的上司三泽健太（草剪刚 饰）起初并不相信，但接连的事实让他大为震惊；诱惑的森林：小葵（岛崎遥香 饰）和朋友结菜（广濑爱丽丝 饰）去山里游玩，山中一间老旧的厕所却带给她们最恐怖的回忆；把手给我：勤奋的OL泷本理沙（桐谷美玲 饰）不知何时与同学兼同事的好友雅美（菜菜绪 饰）关系变差，压力巨大的她发现每晚都有一只手紧紧抓住她的胳膊；出租车司机的自述：老实的出租车司机中川（坂上忍 饰）在晚上载了一位要去很远地方的女客人，但是这位客人竟是如此沉默；黑暗中的视觉：人过中年的森川千寻（黑木瞳 饰）在一家工厂找到工作，拥有天眼的她看到了许多的鬼魂。

　　灰度律师李淇（檀健次饰）因出身于聋人家庭，被卷入一场聋人反诈案中。当他利用案件名利双收之时，却未曾想诈骗案远比想象的复杂。这一次，在欲望和良知的抉择中，他会如何破局？　　本片部分取材自CODA律师张琪真实从业经历。

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