如果你厌倦了那种苦大仇深的狗血剧情，这部片子简直就是上世纪七十年代德语区生活的一记响亮耳光。演员们没演什么夸张的喜剧，只是把这种在牢笼中打转的焦虑演得极具说服力。全片没有黑白高光滤镜，只有沾着油烟味的真实，如果你爱看带点讽刺又莫名戳心的都市故事，尤其是那种“想往上爬却总被生活踹一跤”的狼狈感，这包准能让你坐直了看完全片，最后忍不住在豆瓣给伊莎贝尔·于佩尔写句“这姑娘以后绝对能成大器”。这种多声部讲述不仅削弱了传统戏剧冲突，更通过平行蒙太奇构建出令人窒息的社会图谱。法斯宾德从不吝啬展示灵魂的碎裂，看着她们在客厅里对着一堆霉菌吞噬尊严，你会觉得这比任何正能量鸡汤都更让人清醒。影片打破了典型的人际关系套路，经常让角色对着镜头自言自语，就像当面讲述心事一样，直接把你拉进她们的私密世界。
A film version of a play Fassbinder directed in Hamburg, Clare Booth Luce's The Women. It gave Fassbinder an opportunity to indulge his passion for working with women - there are forty women in the play and no men. The play dates from the 1930s, and Fassbinder was accused by the critics of being anti-women (a frequent criticism of late). As usual, he chose to work against the text, and from this has constructed an entertaining and engaging play about love between upper-class women with nothing better to do than sneer at others when things go wrong with their lives and loves.相关搜索：
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