剧情简介
男主角在树林中醒来后发现自己失忆，孽爱他努力回想却在树林中迷失了方向随后在树林里发现的一具尸体手上的羊皮地图指引着他走出了树林。走出树林后男主角在一个神秘女子的帮助下回到了家里，孽爱本以为从此相安无事却不料在家门外听到情人与人偷情。男主角盛怒之下下定决心杀死情敌，于是尾随情敌。但事情好像在一直重复发生，真想渐渐显露，原来男主角陷入了一个平行时空无限轮回的陷阱里…
孽爱
男主角在树林中醒来后发现自己失忆，孽爱他努力回想却在树林中迷失了方向随后在树林里发现的一具尸体手上的羊皮地图指引着他走出了树林。走出树林后男主角在一个神秘女子的帮助下回到了家里，孽爱本以为从此相安无事却不料在家门外听到情人与人偷情。男主角盛怒之下下定决心杀死情敌，于是尾随情敌。但事情好像在一直重复发生，真想渐渐显露，原来男主角陷入了一个平行时空无限轮回的陷阱里…
米哈伊玛蒂耶
回复 :本片聚焦三个家庭——一对热情的新婚夫妇，一对意见不合的父女和一对收拾残局的母子。新婚夫妻感情出现危机，丈夫时常殴打妻子，让岳父岳母很担心女儿的状况，但为何报警无效？不合的父女则是因为女儿爱上了63岁的老男人，这让比女婿还小的父亲如何接受？而第三对则是住院的母亲即将出院，儿子为家里请了一个小保姆，尽管母亲阻止，但他依然爱上了她。三段故事，三种不同的情感与抉择，它们会如何交织在一起？
言承旭
回复 :大雨瓢泼的都市，邪恶欲望肆意横行。不经意间残忍而血腥的猎奇案件接连发生，有的人被饿犬撕咬而死，有的人被割掉和出生时同样重量的肉而死掉，有的被平均切成两半分送给妻子与情人，有的则被冻在冰柜中永葆不老的青春，更有人嘴里被塞满了大大小小的钉子。正为家庭矛盾所苦恼的搜查一课刑警泽村久志（小栗旬 饰）受命追查此事，随着调查的深入，他发现凶手全系一人所为，而且热衷在雨天行凶作案，之后他更发现所有死者全与许多年前的一起案件有关，偏偏泽村离家出走的妻子（尾野真千子 饰）也被卷入其中。争分夺秒的追查，凶手已对泽村亮出獠牙……本片根据日本漫画家巴亮介的同名原作改编。
霍建华
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.
