好像一切都很糟糕

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