视频简介
早智子（小崎友里衣饰）和吉田（远藤雅饰）是刚刚结婚没多久的新婚夫妇，还沉浸在新婚燕尔的幸福之中。他们搬进了一幢拥有白色房间的新建公寓中，这里将成为两人温暖的避风港。虽然早智子和吉田之间的感情十分融洽，但是早智子却拒绝和吉田发生关系，这让吉田感到十分的苦恼。 一天，吉田的同事加藤给了吉田一盘神秘的录像带，录像的名字叫做《白色房间：晚上教室检查》。这支成人录像是在一个白色的房间里拍摄的，吉田怎么看怎么觉得熟悉，这个房间，不就是自己和早智子的新家吗！吉田并没有将这件事情告诉早智子，而是选择偷偷的藏起了录像带，但最终，早智子还是发现了。。以采访的形式调查了人们对新实施的有关家庭作业的措施的看法，受访者有学生也有家长。在他们描绘的教育体制里，家庭作业不是教学手段，更像是枷锁，老师、家长和学生都处在一个痛苦、被迫与憎恨的恶性循环中。一位从事教育体制研究的家长警告说，这种惩罚学生而不是开发孩子们的创造力的倾向会产生愤怒和阴暗的一代人，他们会对任何精神问题都非常敏感。 自从阿巴斯参与了伊朗青少年教育发展协会，便尤为关注儿童所面临的问题。《家庭作业》是一部记录片，讲述人们对于家庭作业所持有的观点。为此，阿巴斯亲自采访了德黑兰某小学，进行了广泛的调查研究。令人惊奇的是，学生与家长对家庭作业都抱着不喜爱的态度，他们认为，家庭作业非但没有起到促进作用，反而成为人们心头负担。很多人为此忧心忡忡，对家庭作业感到厌恶并为之痛苦。面对这种情况，阿巴斯没有提出解决的办法，只是把问题具体而真实地袒露出来。。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.。
