视频简介
克拉拉是纽约州布法罗市的一名家庭主妇。她长期遭到警察丈夫理查德的家暴。直到有一天克拉拉发现丈夫也在殴打两个儿子，她忍无可忍，带着两个儿子逃到了纽约市。母子三人在纽约的流浪生活困难重重。他们身无分文，还要时时躲避理查德的追踪。幸运的是，在这里他们遇到了急诊护士爱丽丝、失业青年杰夫、厨师马克、律师彼得。一群陌生人的命运偶然交织在一起，闪耀出人性之善的动人火花……本片片名来自田纳西·威廉斯的著名戏剧《欲望号街车》。影片以纽约六位普通人相互交织的人生境遇，激扬了人与人之间的宽容与善意。本片为2019年第69届柏林国际电影节开幕片，并提名当届金熊奖最佳影片。。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.。
