鸠占鹊巢

本剧改编自榊こつぶ的同名漫画，是一部颠覆传统恋爱观的“共享式恋爱喜剧”。神秘又治愈的“天生小天使”真中北（岩濑洋志饰），以天然魅力俘获了护士浅田南（本田翼饰）、面包师比留间东子（志田未来饰）、书店员西野悠（增子敦贵饰）三人的芳心。为避免情敌增加，三人组建“33%之会”，决定三人平分北君的爱，展开四人同居生活。随着奇妙日常展开，在北君的谜团与温柔之语中，三位性格迥异的男女也在情感碰撞中逐渐理解爱、责任与人生真正重要的事。。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.。