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.
另外，相比之下村上对女性司机的刻画太自以为是
2021年7月26日，佐伯照生(池松壮亮 饰)迎接34岁生日，起床后惯常地为仙人掌浇水，身体随着收音机音乐摆动，就算是生日，身为灯光师的他仍如常工作，照亮台上每一位舞者。
其实这部电影讲的是，无论你喜欢的是同性还是异性，爱情的样子不会有什么区别。
8/10
哎要怎么说，分开这么久了脑海里偶然闪过的记忆碎片原来就是 稍微想起一些。
开头显得沉闷又沉重，直到后来才发现是倒叙，从分开到遇见，于是内容上的BE变成了形式上的HE……有一种“爱过”的释然。
刚看完一部日本电影，叫做《稍微想起一些》，挺巧的，今天是7月26日，电影里，男主角的生日便是7月26日
壮壮跟沙沙没有西皮感哈哈哈，可爱是很可爱啦～
而那些寻常又不平凡的拨动人心的细节
时空被压缩，所有埋藏在里面的瞬间也被抹去，漫长的铺垫带来的美好也显得珍贵和残酷。
看到池松壮亮想到了当年他和soda一起拍濑户内海的回忆
水族馆有几个镜头好像王家卫啊。这种电波系果然对上电波会很开心。以及女主的声音太反差萌了。
当然，必须插一句，心目中目前观感最好的倒叙故事，还得是岸西的『亲密』。
刷小红书看到的跟花束可以媲美的电影
倒叙的「花束」，越往后越轻盈，显示出此情可待成追忆的美妙，回味和质感上都做到了不落俗套，结构上其实还可以更去戏剧化一点儿
告白和最后的初遇戏还不错。今天也是get不到池松壮亮的一天。
两个演员都选得太好了。最后一幕落下，是缓缓却巨大的情绪袭来，美妙。
“给BL打掩护”？他妈的这就BL了?这就爆炸了?这还是🌈 片?
心的距离比语言更远，爱是跛脚的舞者在最隐秘的地方起舞
现在越来越喜欢的，都是这种类型的爱情电影了。我是很迟钝，我前半段一直以为是男主角家里的表坏了，日期永远停在一天，快一半了才看明白是怎么一回事。这种把两个人分开，倒着演的，挺有意思的。看到最后，心里还是怪难受的。
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