失樂(lè)園

? 1.4 播放：91萬(wàn) 2026-04-24

久木祥一郎（役所廣司飾）是一家出版社的高級(jí)編輯，妻子久木文枝（星野知子飾）做設(shè)計(jì)陶制品，已成年的女兒在醫(yī)院工作，很少回家。祥一朗感到家庭生活乏味，夫妻間總是客客氣氣。 祥一郎有個(gè)情人，業(yè)余書(shū)法教員松原凜子（黑木瞳飾）。凜子氣質(zhì)高雅，是個(gè)聰明女子?？上Ъ蘖藗€(gè)毫無(wú)情味的醫(yī)生丈夫松原晴彥。他冷冰冰的，招致二人婚姻空虛。一次他堅(jiān)決地通知?jiǎng)C子決不會(huì)和她離婚，他控制有妻子偷情的證據(jù)，并揭露了事情。另一邊文枝卻默默接受，最終也只能離婚。冬季到來(lái)，祥一郎和凜子怎樣才干永遠(yuǎn)的和對(duì)方長(zhǎng)相廝守呢？ 　　

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劇情提要

久木祥一郎（役所廣司飾）是一家出版社的高級(jí)編輯，妻子久木文枝（星野知子飾）做設(shè)計(jì)陶制品，已成年的女兒在醫(yī)院工作，很少回家。祥一朗感到家庭生活乏味，夫妻間總是客客氣氣。 祥一郎有個(gè)情人，業(yè)余書(shū)法教員松原凜子（黑木瞳飾）。凜子氣質(zhì)高雅，是個(gè)聰明女子?？上Ъ蘖藗€(gè)毫無(wú)情味的醫(yī)生丈夫松原晴彥。他冷冰冰的，招致二人婚姻空虛。一次他堅(jiān)決地通知?jiǎng)C子決不會(huì)和她離婚，他控制有妻子偷情的證據(jù)，并揭露了事情。另一邊文枝卻默默接受，最終也只能離婚。冬季到來(lái)，祥一郎和凜子怎樣才干永遠(yuǎn)的和對(duì)方長(zhǎng)相廝守呢？ 　　

幕后花絮

我的學(xué)姐是青蛇

打破白娘子傳說(shuō)的固有框架，以許仕林后人許博森的現(xiàn)代視角切入，將千年神話與當(dāng)代青年的成長(zhǎng)、抉擇結(jié)合，把 “救母” 而非 “愛(ài)情” 作為核心主線，賦予經(jīng)典故事全新的情感內(nèi)核與現(xiàn)實(shí)思考。

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