Volker Schlöndorff transposes Bertolt Brecht’s late-expressionist work to latter-day 1969. Poet and anarchist Baal lives in an attic and reads his poems to cab drivers. At first feted and later rejected by bourgeois society, Baal roams through forests and along motorways, greedy for schnapps, cigarettes, women and men: ‘You have to let out the beast, let him out into the sunlight.’ After impregnating a young actress he soon comes to regard her as a millstone round his neck. He stabs a friend to death and dies alone. ‘You are useless, mangy and wild, you beast, you crawl through the lowest boughs of the tree.’
The film takes youthful impetuousness and hatred of oppression as its subject and also ponders the cult of genius and sexual morals. Rainer Werner Fassbinder simultaneously plays both Baal and himself and is surrounded by many actors who were later to perform in his own films. After the film was broadcast on West German television, Brecht’s widow Helene Weigel prohibited any further screenings, arguing that the social circumstances engendering Baal’s rebelliousness had not been adequately explained.
也许我们的害怕都来源于无法接纳。母爱的内核很是温暖，这一看明显就是有剧集支撑的剧场篇，从电影的角度整体来说，似乎少了点什么～
揭开了Trolberg地下温暖的秘密。我好像也幸福地长出叶子来。
没看过剧集，对设定一头雾水。有点像《进击的巨人》。
也许我们的害怕都来源于无法接纳。母爱的内核很是温暖，这一看明显就是有剧集支撑的剧场篇，从电影的角度整体来说，似乎少了点什么～
关于爱和平成长的故事。希尔达最好的一点是动画里没有真正的坏人，主角三人团里的辅助角色也有自己的成长空间，不是单纯作为绿叶存在。
以后啊，一定会给我的孩子讲Hilda的冒险当作睡前故事的。22.01.15
love always love
依旧温馨且充满想象力。Hilda变成troll后的新鲜感和陌生感交杂在一起，矛盾微妙情绪的背后是看待troll的世界的新视角。和人类一样有各种各样的巨魔，好的坏的蠢的。故事不长，结尾略显仓促，但还是被母爱的故事狠狠感动到了。长眠于地下守护孩子的troll mother，有一些温暖。爱，一直都在。
给这段时间高阈值的我带来了一丝丝勇气，Hilda总是在任何时候都能想到解决办法并顺利化险为夷的勇敢小妹儿！
我觉得沉睡在小城下的巨魔之母是大自然的隐喻，世间所有巨魔/生物都是她一人的孩子。大自然母亲醒来后发现身上的土地已住满了人类，她不忍心叨扰破坏，于是选择放任人类并就此长眠。
第一句话是:
最后还是挺感人的，有孩子之后没法看这种。但比较好奇的是父亲的缺失
8.5 山怪王有什么错呢 他只是想找妈妈而已
不知道是不是因为太久没看，感觉节奏有点拖沓，但还是，呜呜呜呜呜呜呜呜
你永远不知道下一秒会出现什么。结尾很温暖 不过前半段更精彩
啊所以山怪王死了吗……这么暖为什么一定要有人死啊。
看似一部简单的儿童动画，表面上是一个人类小孩和山怪宝宝调包的故事，背后却是对母爱的伟大歌颂，自然母亲对人类的包容，以及人与自然和谐相处的思考
期待第三季完结
从剧情和世界观较怪诞小镇似乎都弱了一些，但童年的冒险总归是永远的梦
好好啊，真好好啊，我也想活在Hilda的世界观里。或者任意一个有消融心之壁道具的世界观里。
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