耳朵清潔工

　　時(shí)為1982年，一支隸屬挪威的三人南極科考隊(duì)在冰原中行進(jìn)，意外發(fā)現(xiàn)一艘一百萬(wàn)年前的奇怪船只，并且在附近找到了凍于嚴(yán)冰之中的神秘生物。才貌雙全的美國(guó)古生物學(xué)家凱特·洛伊德（瑪麗·伊麗莎白·文斯蒂德 Mary Elizabeth Winstead 飾）在桑德?tīng)枴す稚┦浚║lrich Thomsen 飾）的邀請(qǐng)下，隨同一眾科研工作者前往南極。經(jīng)過(guò)認(rèn)真研究，他們發(fā)現(xiàn)這是地球上從未有過(guò)的生物。正當(dāng)科學(xué)家們?yōu)榱诉@個(gè)偉大的發(fā)現(xiàn)載歌載舞慶祝之時(shí)，神秘生物悄悄解凍，繼而向人類(lèi)展開(kāi)兇殘的襲擊。經(jīng)過(guò)一番慘烈的搏斗，怪物最終葬身火海。　　但是厄運(yùn)并未就此結(jié)束，經(jīng)過(guò)對(duì)怪物細(xì)胞的觀測(cè)，凱特隱隱感到一場(chǎng)災(zāi)難正向全人類(lèi)襲來(lái)……

 一群學(xué)生發(fā)現(xiàn)了一個(gè)阿茲特克“索命哨”，不信邪的他們招來(lái)了自己的死亡……

　　星際聯(lián)盟收到探索飛船發(fā)出的求救信號(hào)后立刻派遣星際精英特種小組前去營(yíng)救，由于機(jī)器故障飛船迫降到那個(gè)荒蕪且怪異的星球上。不久后，船員在星球上發(fā)現(xiàn)了那艘廢棄的飛船，但里面的飛行員都莫名其妙的死去，為了防止尸體異變，他們決定把尸體全部銷(xiāo)毀。隨后船員們發(fā)現(xiàn)了金字塔般的巨大建筑物，然而噩夢(mèng)從此開(kāi)始，他們釋放了金字塔中所有的嗜血星際怪獸，星球瞬間被恐怖包圍，喪尸怪獸一并向人們襲來(lái)，他們?cè)撊绾瓮炀茸约骸?（此片精彩的沒(méi)話說(shuō)，星球大戰(zhàn)般的場(chǎng)景加異型的特效以及著名的cult片演員們齊聚在一塊所產(chǎn)生的名詞是什么？那就是經(jīng)典~！ 這部B級(jí)片的經(jīng)典程度已經(jīng)影響到未來(lái)科幻恐怖電影的發(fā)展前途，像黑洞表面之類(lèi)的電影就是對(duì)其進(jìn)行無(wú)恥的抄襲。影片甚至影響了*本成人動(dòng)漫的一個(gè)類(lèi)型，那就是觸手系漫畫(huà)~片中有經(jīng)典的蠕蟲(chóng)強(qiáng)*金發(fā)奶霸的震撼鏡頭，這就是八十年代恐怖片的魅力……）　

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