Les parents d'une adolescente handicapée partis chacun avec leur amant respectif se retrouvent à leur grande surprise dans la maison de campagne familiale. Leur fille arrive et propose un je... Tout lireLes parents d'une adolescente handicapée partis chacun avec leur amant respectif se retrouvent à leur grande surprise dans la maison de campagne familiale. Leur fille arrive et propose un jeu de devinettes, la roulette chinoise.Les parents d'une adolescente handicapée partis chacun avec leur amant respectif se retrouvent à leur grande surprise dans la maison de campagne familiale. Leur fille arrive et propose un jeu de devinettes, la roulette chinoise.
- Réalisation
- Scénario
- Casting principal
Avis à la une
The picture is quite difficult to understand, it is made in a sluggish manner and everything interesting in it comes right at the end. Gravitating towards art-house and intimacy, the film nevertheless makes a lasting impression and provokes reflection after viewing. This topic will probably always be relevant. The new cannot be built without the merciless eradication of the old, as is the main conclusion of the picture.
With the situation as it is, their true characters quickly rise to the surface. The parents get the most time; father is loving in his way, but his love is probably only a result of the guilty feelings he has towards his daughter. Mother, on the other hand, is quite the psycho. At one point, as she sees her daughter lumbering along on her crutches from a second story window, she picks up a pistol and aims it at her daughter's back. She uses no euphemisms: her daughter, she believes, has ruined her life.
Fassbinder's direction is exquisite. His framing is so complex, but it's invented to look simple. The simple set might be called stagey by those who are not paying enough attention. When the four lovers meet, Fassbinder circles the camera around them as they pace around each other, creating a dizzying dance. Peer Raben's gorgeous and unique music also should be pointed out.
Not everything works out perfectly. The titular game is an interesting idea to do on film. The eight characters split into two groups, the first picks a person in the house and the second has to guess after they've asked a certain number of questions. I think Fassbinder has a difficult time making the questions and answers meaningful for the film as a whole. These exchanges get a little ponderous as a result, and the only thing that keeps the sequence alive is Raben's score. Like I said, it was quite a daring thing to do, so the fact that it doesn't work out perfectly doesn't harm the film too much. 9/10.
Le saviez-vous
- Citations
[English subtitled version]
Gerhard Christ: Won't you answer me, Kolbe? I asked if you love my wife.
Kolbe: Love? We've gotten used to each other.
Gerhard Christ: Of course, but it *was* love?
Kolbe: Who knows? Maybe it still is. Maybe that's love too - getting used to someone.
Gerhard Christ: You're probably right.
- ConnexionsReferenced in Omnibus: Signs of Vigorous Life: The New German Cinema (1976)
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Détails
Box-office
- Budget
- 1 100 000 DEM (estimé)
- Montant brut aux États-Unis et au Canada
- 8 144 $US
- Week-end de sortie aux États-Unis et au Canada
- 11 623 $US
- 16 févr. 2003
- Montant brut mondial
- 8 158 $US
- Durée1 heure 26 minutes
- Mixage
- Rapport de forme
- 1.66 : 1