视频简介
故事描述在二次大戰晚期，敏子跟她的家人住在東京的市中心。那時，日本瀕臨戰敗的邊緣，民眾飽受無情的戰火摧殘民不聊生，民生物資極度缺乏。許多家庭的男丁都接受政府徵召為國出征，只留下老弱婦孺獨自守護殘破的家園。 一九四五年三月十號，敏子的母親和兩個妹妹都在東京的一場大轟炸中喪生。頓失至親的敏子在偶然的一天，回到殘破的家園裡撿起被戰火燒到變形的「玻璃兔」，讓她領悟到戰爭的可怕與無情。 當她被迫撤離到郊區的時候，他的父親卻在往車站的途中遭美軍殺害了，年紀小小的敏子一夕之間失去至親，還得獨立料理父親的後事，孓然一身的敏子感到十分的孤單，生無可戀。但只要回想起那些在戰火中死去的親人們，她只能放下她的孤寂與悲傷，重新振作…然而，戰火的無情與殘酷，往往附加在人們的私慾與錯誤的抉擇上…。。讲述藏族女出租车司机德吉梅朵因意外撞上了与自己情同姐妹的藏族小女孩嘎嘎，并导致其死亡。德吉梅朵不忍遭受良心谴责，最终勇敢走上自首的道路。。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.。
