视频简介
20岁的三田静香（药师丸博子 饰）是一名热爱表演的纯真女孩，她经常到公园的无人露天剧场练习演技。为了参演剧团的新戏《W的悲剧》，静香参加了主角的选拔考试，最终同期学员菊地香（高木美保 饰）获得出演主角摩子的机会，而静香只获得了只有一句台词的女佣这个角色。 《W的悲剧》巡演大获好评，却在大阪遭遇危机。剧团当家花旦羽鸟翔（三田佳子 饰）的恩客堂原（仲谷升 饰）病发，死在羽鸟的房中。为遮掩丑闻，羽鸟以摩子这个角色作交换，要求静香在媒体面前承认自己和堂原的不伦关系。为了梦寐以求的角色，静香接受了羽鸟的请求……。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.。社会学家江学翰的女儿江美兰，在得知自己的父亲意外死亡后，从云南赶到上海。在处理父亲后事时，获知身为社会学家的父亲竟然是死在一个女明星的家里，临死前还撕毁了正在创作的一部分书稿。美兰由此对父亲的死亡产生了怀疑，并留在上海着手调查。由此又引起女明星安琪的不满。安琪不择手段的生活方式，使美兰和她势不两立，两个人在对爱情，对事业，对生活上，开始产生极大冲突。加上美兰父亲的现任妻子叶慧英和美兰同父异母的弟弟江小东的再三搅局使得美兰一度陷入困境……。