在军国主义甚嚣尘上之时,一艘名为“博光丸”的渔船载着数十名蟹工颠簸在堪察加半岛海域的惊涛骇浪之中。这艘船由专事蟹肉罐头制作的食品公司所有,并以帝国的名义进行疯狂的捕捞和生产。蟹工们出身各有不同,但无一例外都来自穷苦人家。为了那点可怜的工钱,他们每天要进行高强度的劳作,还要随时忍受魔鬼工头浅川(西岛秀俊 饰)的责罚与打骂。蟹工们求生不能,求死不得,绝望与颓废的情绪在“博光丸”内肆意蔓延。偶然机会,蟹工新庄(松田龍平 饰)和塩田(新井浩文 饰)登上一艘俄国人的船,他们为船上自由快乐的气氛所感染。回到“博光丸”后,新庄鼓舞大家奋起反抗资本家的压榨……
本片根据日本共产党作家小林多喜二的同名中篇小说改编。。吴大明是一个遭遇中年危机家庭事业都屡屡失意的落魄者。在经历了被无良老板欺骗,讨薪失败,应聘四处碰壁,与妻子感情瓶颈期等事情之后,心灰意冷的吴大明偶然得到一种名曰“超能含片”的神奇药片,他凭借该药片先后获得四种超能力,但都未获得自己想要得到的幸福,迷思之际猛然惊觉原来只是一场梦,其实幸福就在自己身边。。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.。