话多多二人帮

诹访敦彦在《圣恐怖主义》当摄影师，自己拍这第一作却深受法国新浪潮的启蒙，亦不难在此看出他后来的轨迹：《广岛别恋》（26 届）重拍阿伦雷奈，更去巴黎拍《现代离婚故事》（30 届）。演员在镜头前预先论尽角色，真故事接着上演，佳村与相泽一高一矮两小混混，遇上贪玩的理惠，偷抢变成游戏，三人偷车偷了大笔钱又杀了人，分道扬镳大逃亡。角色抽身画外音问：部戏仲玩几耐？又摘录马克吐温，画面随爵士乐变调，一忽儿悲，一忽儿搞趣。是高达的狂人彼埃洛误闯日本？If the French nouvelle vague is an implicit reference point, or at least shares a certain sensibility with the films in this lineup-many of which feel like uninhibited, no-holds-barred experiments very loosely inspired by Truffaut, Rivette or Godard-then Hanasareru Gang is the only open homage to the French filmmakers. Genre elements such as gangsters, a suitcase full of money, and a girl who joins them for their misadventures build a kaleidoscopic game of filmic conventions. Always self-aware and willing to slip back and forth between storytelling and self-reflexivity with a light touch, Hanasareru Gang is easily recognizable as a complex yet passionately energetic variation of Suwa's more austere later films. One of the directors most explicitly influenced by French cinema, Suwa is best known outside of Japan for his H Story (2001), a film that starred Beatrice Dalle and was a remake of sorts of-and meta-filmic reflection on-Alain Resnais' Hiroshima Mon Amour.