视频简介
曾以《天黑》在台北电影节获奖的张荣吉执导的首部剧情长片，影像细腻写实，让张榕容的内敛与黄裕翔的本色演出，不可思议地揉合成一页温柔诗篇，更是台片年度惊喜。天生眼盲的裕翔，首次离家北上唸书，他琴弹得好，却坚持不参加任何比赛，因為不想被同情。爱跳舞的小洁被迫放弃学舞，却交了个一跳街舞就闪耀著光芒的男友。两颗平行的心，竟在不经意间望见彼此身后那道逆光，等待展翅飞翔的可能。。战国时代，秦王嬴政以统一天下为大业。当时燕国为嬴政的心头之患，为帮助他早日完成统一霸业，赵姬献策到燕国假意策动刺杀嬴政的计划，如此一来，秦便有出兵攻燕的名目，争取燕国不战而降的可能。 赵姬与燕太子丹同心谋划刺杀嬴政的行动。执行任务的人选是名剑客荆轲，大隐于市的他为此重出江湖。与荆轲接触后，赵姬十分倾慕他的为人。赵姬拒绝再去说服荆轲。太子丹恼怒，将赵姬关押起来。于是，荆轲找到太子丹，提出放了赵姬，他就答应去刺秦王。与此同时，嬴政发现了关于自己身世的秘密，他恼怒不堪，甚至挥兵攻打赵国，暴行难述。 大殿之上，荆轲却失手……。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.。
