聊斋志异之孽欲孤鬼

十五岁的加博，表面过着平凡简单的青少年生活，背后却隐藏着不可告人的秘密—-他恋上好友的弟弟，而弟弟只有八岁！他在网上论坛寻求建议，试图抑制恋童欲望，因而结识了恋少年经验丰富的戴夫。直至戴夫因涉嫌侵犯未成年少年受到警方调查，加博终于不得不面对一场自我审问：他到底是受害人，还是施害者？改编自真实事件，来自德国的史蒂夫.巴赫大胆直面禁忌话题，以敏锐成熟的笔触，探问生活与社会规范怎样塑造了今时今日的我们。

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

41岁的桑德拉·林德斯特伦失踪后被发现遇害，警方在她的数字足迹中发现，她已被未知凶手网络跟踪数月，对方不仅监视她的一举一动，还发送了带童谣的威胁视频。警探纳雅·图林与马克·赫斯再度联手调查，发现案件与两年前17岁少女艾玛·霍尔斯特的未破凶案手法如出一辙，两名受害者都深陷离婚与抚养权纠纷。随着调查深入，更多线索浮现，凶手的“捉迷藏式猎杀”游戏仍在继续，两人被迫直面案件背后的阴暗真相。