被憎恨的前男友欺骗，沉沦快感的未婚妻

两名警察在出警处理一桩家庭纠纷时，不慎酿成了一起枪击意外。为了避免成为舆论的众矢之的，他们选择联手掩盖真相。随着事态逐渐失控，他们才惊觉——监视他们的，远不止现场的摄像头…

 罗生门，日本京都的正南门。云游和尚、砍柴人和乞丐在城门底下避雨，三人闲聊，话题开始，故事的序幕拉开：一个武士和他妻子路过荒山，遭遇了不测。妻子被侮辱，而武士惨遭杀害。惨案如何酿成？凶手、妻子、借武士亡魂来做证的女巫，都各有说法。真相只得一个，但是各人提供证词的目的却各有不同。为了美化自己的道德，减轻自己的罪恶，掩饰自己的过失，人人都开始叙述一个美化自己的故事版本。荒山上的惨案，成了一团拨不开看不清的迷雾。谈论完毕，雨过天晴。砍柴人在罗生门旁发现一个哭泣的弃婴。他决定收养下来，抱着婴孩往夕阳深处走去。

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

　　在《吸血鬼德古拉》小说原作者布莱姆·斯托克笔下的一章“船长日志”中，“得墨忒尔”是把德古拉从特兰西瓦尼亚运到伦敦的船的名字——这艘俄国帆船运送着50个没有标记的大木箱出发，而此后在英国海岸线上搁浅，破破烂烂，全船仅存一个疯癫的幸存者。本片的故事将详细聚焦得墨忒耳号的那趟可怕旅程：某神秘的乘客把船员们一个接一个屠杀。