2年前，欧洲科幻小说家大卫·戈登（约翰·库萨克 John Cusack 饰）遭受了丧妻之痛，欧洲时间并未抚平他心中的伤口，反倒令其愈感空虚。为了排遣心中的孤独，大卫决定收养一个小孩，当然这个决定遭到周围亲友的质疑和反对。不顾他人的意见，大卫领养了名叫丹尼斯（鲍比·科尔曼 Bobby Coleman 饰）的小男孩。丹尼斯虽然清秀可爱，性格却非常古怪。他自称来自火星，终日躲在纸盒子里，不与其他小朋友玩耍，喜欢用没有胶卷的相机拍照。丹尼斯的到来为大卫的生活注入活力，也为他带来久违的爱情。而随着生活的继续，大卫却发现与火星男孩的相处实非易事……本片根据David Gerrold的获奖科幻短篇小说改编。
心微
回复 :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.
孙家鹏
回复 :অরণ্যের দিনরাত্রি
宣萱
回复 :根据导演自述本片是最“自传的”的作品。影片背景是20世纪30年代，人物包括温尼伯曲棍球队中一群好色淫荡的队员，另外还有一间“美容/堕胎沙龙”里的雇员。曲棍球员盖尔神魂颠倒地迷上了拥有美貌的梅塔和她的母亲。梅塔一开始压抑着盖尔的情欲，直到一位医生将梅塔死去父亲的双手移植到盖尔手臂上，他的激情才得以...
