巴伐利亚打猎即景

1969年彼得·弗莱施曼的《巴伐利亚打猎即景》节奏飞快，叙事干脆利落。彼得·弗莱施曼以极具匠心的视听语言，将社会阶级的碰撞与两性关系的猜疑刻画得入木三分，硬汉克劳斯·玛丽亚·布兰道尔的表演更是充满张力。 如果你是情节驱动的剧迷，这可能会让你感到枯燥；但如果你向往纯粹的、静谧的影像体验，或者痴迷于观察人物细微的心理变化，这部片子绝对能让你沉浸其中，感受一种返璞归真的宁静与冲击。 影片没有戏剧化的冲突，而是聚焦于人与自然、个体与环境之间微妙且脆弱的平衡。凯·斯维塔克将青春期男孩内心的敏感、对男性的向往以及对母性的渴望刻画得入木三分。如果你厌倦了传统正剧，喜欢那些既有西部片豪迈又带点神经质与讽刺的另类佳作，绝对不要错过这部冷门佳作。

ynopsis from Time Out Film Guide Between the seemingly idyllic opening and closing scenes depicting a rural community, first at church, then at the village festival, Fleischmann attacks that community's prejudices and ignorance without remorse. His very precisely observed portrait of Bavarian life begins with little more than a display of the villagers' constant ribbing, bawdy humour, continuous gossip, and more than a hint of their slow-wittedness. With the return of a young man, their idle malice and childish clowning, always on the edge of unpleasantness, receive some focus quite without foundation, the lad is victimised as a homosexual. The crippling conformity of their ingrained conservatism leads the villagers to reject anything 'different' a young widow is ostracised, more for her crippled lover and idiot son than her morals; a teacher is frozen out because she's educated; the casual destruction of the young 'homosexual' is given no more thought than the cutting up of a pig. Not Germany in the '30s but the '70s; nevertheless the political parallels are clear. An impressive film.

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