视频简介
故事开始于一个大雨滂沱的夜晚，环卫工人雷敬德得知了自己的妻子淑琴在医院临盆的消息，他欢天喜地的赶往医院，想要快点看见自己刚刚出世的孩子。哪知道在路上，雷敬德捡到了一个同样刚刚呱呱坠地的女婴，看着女婴天真无邪的笑颜，雷敬德最终决定把她带回家收养，并且起名为媛媛。 雷敬德的家庭状况并不富裕，收养媛媛意味着他们家一下子多了两张嘴要吃饭。顶不住生活压力的淑琴几次想将媛媛送人，但都被雷敬德追了回来。雷敬德对媛媛的爱甚至超过了对自己的亲生儿子小超，这导致了小超在一场意外中被烫伤了。这件事情成为了淑琴和雷敬德感情裂痕的导火索，淑琴决定和他离婚。。刚由日本九州搬进东京高级住宅区“八本木山”的犬山家，在搬家后随即出现财政困难，这情况亦蔓延到犬山家所经营的企业。由犬山家独生女犬山留美所饲养的狗－彻之进，为了主人留美和犬山家的生计而出一分力，并得到秘密组织“犬乐园”的朋友帮助。但另一方面，居于白金区的里奥及其手下用尽千方百计对付他们，除了令彻之进失去身边的犬乐园朋友外，亦令犬乐园险遭崩溃……。The subtitle of Jean-Marie Straub and Danièle Huillet’s first feature, from 1965, “Only Violence Helps Where Violence Reigns,” suggests the fierce political program evoked by their rigorous aesthetic. The pretext of the film, set in Cologne, is Heinrich Böll’s novel “Billiards at Half Past Nine,” which they strip down to a handful of stark events and film with a confrontational angularity akin to Bartók’s music that adorns the soundtrack. The subtlest of cues accompany the story’s complex flashbacks. The middle-aged Robert Fähmel tells a young hotel bellhop of persecutions under the Third Reich| his elderly father, Heinrich, an architect famed for a local abbey, recalls the militarism of the First World War, when his wife, Johanna, incurred trouble for insulting the Kaiser. A third-generation Fähmel is considering architecture, just as the exiled brother of Robert’s late wife, returns, only to be met by their former torturer, now a West German official taking part in a celebratory parade of war veterans. Straub and Huillet make the layers of history live in the present tense, which they judge severely. The tamped-down acting and the spare, tense visual rhetoric suggest a state of moral crisis as well as the response—as much in style as in substance—that it demands.。