Volker Schlöndorff transposes Bertolt Brecht’s late-expressionist work to latter-day 1969. Poet and anarchist Baal lives in an attic and reads his poems to cab drivers. At first feted and later rejected by bourgeois society, Baal roams through forests and
1945年4月,战争已近尾声,德国人疲于应战,炸弹轰塌了小镇附近的桥梁,前线步步逼近,德国士兵忙不迭撤离,以逃脱美军的进攻,而七个十几岁的少年却被组织起来顶替他们来到前线作战,在纳粹流血即荣耀的思维鼓动下,他们竟然面对炮火连天的危险境地却毫无畏惧。而其实,在上前线之前,战争对于这些男孩不过是充满冒险的幻境,他们将如何抵抗这残酷的现实呢?
加斯荷伯(布鲁诺·斯列斯坦 Bruno S. 饰)从小生活在不见天日的地下室里,仅靠稀少的水源和面包维持生命,直到数十年后,早已成年的他才被带离地下室,第一次亲眼看到了外面的大千世界。可是,噩梦并没有结束,他只不过是从一个地狱跌落到了另一个。在人们的眼中,加斯荷伯并非一个有血有肉的人类,只是一个可供研究和玩乐的部件罢了。刚开始,人们对加斯荷伯充满了好奇,并且,这些好奇里包含了某些恶意。渐渐地,对这个无趣而可怜的物体,大家都失去了兴趣,加斯荷伯被送进了马戏团。 几经波折之后,被一名学者收留的加斯荷
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 B