幽灵盛典

视频简介

ツキノ芸能プロダクション社長のその一言から始まった、VAZZROCKプロジェクト。 芸歴の長さも、活動ジャンルも、年齢も、バックグラウンドもバラバラの12人のタレントたちが集められて、はや数年。 彼らはVAZZY（ヴァジー）とROCK DOWN（ロックダウン）という2つのユニットを組み、コンビ・親友・ライバルとして互いの個性をぶつけ、磨き合ってきた。 音楽活動はもちろん、ドラマや舞台、映画出演など様々な挑戦に挑む日々。 悩んで、傷ついて、それでも進むから輝ける。 新たな輝きの物語が、はじまる！。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.。