　　影片講述美國著名拳擊運動員、“女洛奇”克里斯蒂·馬丁的故事。克里斯蒂來自美國西弗吉尼亞州小鎮一個相對保守的家庭，當時她作為一個年輕的女同性戀者不被允許做自己，所以用拳擊作為表達自己和憤怒的工具。她必須在生活中做出一些危險而根本的妥協，其中最嚴重的是嫁給一個極其危險的男人。　　1989年，馬丁遇到了她的經紀人、后來的丈夫吉姆·馬丁，生活發生了轉變。她打破界限，成為第一個與金牌拳擊推廣人唐·金簽約的女性，也是唯一一個登上《體育畫報》封面的女拳擊手。　　克里斯蒂的魅力、漂亮外表和對賽場的適應為她贏得了狂熱的粉絲群，并推動她成為次中量級冠軍。但在精心塑造的公眾形象背后，她面臨著個人內心的惡魔、有毒的人際關系以及一次致命的謀殺事件。

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

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