一个年轻人发现的答案，他过去既感动和悲壮，篮球变得多赛一场。

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居於城市的姊姊硬頸倔強，為二八年華的妹妹籌劃未來，計劃供她外國留學，令 她成為思想獨立新一代。豈料回鄉辦手續遇阻，妹妹更在光天化日被擄，原來當 地有財有勢的巫醫安排把她納為繼室。鄉下風光明媚，卻是封建保守樊籠，姊姊 報案不受理，救兵不可靠，獨對冰天雪地，只好背水一戰。葉爾扎諾夫(《擁抱 世界盡頭的溫柔》，43屆)開門見山，帶着黑色幽默，以強勁節拍，諷刺父權體 制，笑看城鄉差異，突顯性別權力關係，揭示重男輕女傳統的荒謬。

Volker Schlöndorff transposes Bertolt Brecht’s late-expressionist work to latter-day 1969. Poet and anarchist Baal lives in an attic and reads his poems to cab drivers. At first feted and later rejected by bourgeois society, Baal roams through forests and along motorways, greedy for schnapps, cigarettes, women and men: ‘You have to let out the beast, let him out into the sunlight.’ After impregnating a young actress he soon comes to regard her as a millstone round his neck. He stabs a friend to death and dies alone. ‘You are useless, mangy and wild, you beast, you crawl through the lowest boughs of the tree.’ The film takes youthful impetuousness and hatred of oppression as its subject and also ponders the cult of genius and sexual morals. Rainer Werner Fassbinder simultaneously plays both Baal and himself and is surrounded by many actors who were later to perform in his own films. After the film was broadcast on West German television, Brecht’s widow Helene Weigel prohibited any further screenings, arguing that the social circumstances engendering Baal’s rebelliousness had not been adequately explained.

沃尔克·施隆多夫将贝尔托·布莱希特的表现主义晚期作品移植到了1969年的现代背景中。诗人兼无政府主义者巴尔住在阁楼里，向出租车司机朗诵他的诗歌。巴尔起初受到资产阶级社会的追捧，后来遭到排斥，他在森林中徘徊，沿着高速公路游荡，对烈酒、香烟、女人和男人都有着强烈的欲望：“你得放出那头野兽，让它沐浴在阳光下……”

Baal, a young artist whom society regards as a genius, does not want to be monopolized by the culture and business.

An exploration of the cult of the genius, an anti-heroic figure who chooses to be a social outcast and live on the fringe of bourgeois morality.

达尼洛是一名处女摩托车出租车司机，经常因缺乏“经验”而被室友取笑。也就是说，直到他的乘客埃里卡和她最好的朋友劳拉带领他进入性觉醒。

达尼洛是一名处女摩托车出租车司机，经常因缺乏“经验”而被室友取笑。也就是说，直到他的乘客埃里卡和她最好的朋友劳拉带领他进入性觉醒。

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