视频简介
赛车手叶浩城年少轻狂，曾在多次赛车大奖赛中勇夺冠军，一时目中无人。不久，他与另一位天才车手林司哲相遇，林属于少年老成深藏不露一类，叶浩城乍一见面，便生出莫名敌意，令人想不到的是，他莫名其妙地爱上了林的妹妺林韦彤。浩城的哥哥宏城早年死于一次非法赛车，恐怖的梦魇一直笼罩在浩城心头好多年，成了他无法打开的心结。为赢得比赛，浩城常常采用危险技术，为此他多次遭教练严叔斥责。好朋友吴嘉乐也因助他使用旁门左道而离开了赛车场，从此浩城变得一蹶不振。为使叶浩城重新鼓起重返赛场的信心，严叔等人费尽了心机。。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.。
