激战电影影评

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青春期的男生除了要用功读书，更要热衷研究「健康教育」。15岁的查拉德（永思．翁帕尼浓饰）和欧阳（塔纳瑟．苏里雅彭查坤饰）、欧比（基拉奇．王斯朋饰）三个无话不谈的好基友，天天一起上下课、烦恼着撩妹小事、分享磁盘里的女神、思念着春天的到来。偶然机缘下，查拉拉目睹心仪女孩樱桃与人气学长潭接吻，为夺樱桃芳心，查拉拉筹划着击败樱桃，好让樱桃崇拜的计划，可现实很残酷，科学竞赛里有个大魔王──堪称考试能手的天才资优生苏达拉。馊主意一堆的三人，决定派出苏达拉的青梅竹马来个「恋情攻克计划」，但计划却全歪楼，学校没教的通通有！充满幻想与冲动的15岁，究竟会出现怎样的青春.性.插曲呢？。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.。