狼族盟约

为了避免剧透，我只说题外话。

故事发生在爆发法国大革命的三十多年之前，所以不难理解，此时的背景：罗马教廷，法国皇权以及不断发展壮大的新型贵族和资产阶级这三股势力之间的深刻矛盾。

本片里的主要角色几乎可以作为上述三种势力的agents，唯一显得另类的则是那个宛如小清新一般的印第安勇士，那淳朴的眼神，坚毅的表情，救死扶伤而又被人误解之后不屑于争辩的态度，干净利落的身手，独来独往又充满神秘的行为，他和男主角的关系恐怕不只是朋友那么简单。

其实作为从小被某种意识形态的历史观所灌输的人，我们可能从心底里认为或者说理解并支持着那些生活在社会底层的人们一定是遭受着地狱般的痛苦的说法，并且有理由去使用暴力的手段推翻这不平等的旧制度。

但是新的制度难道就能体现底层人们的全部意志么？

别做梦了。

作为生活在金字塔的最底层，那些人是麻木的，冷血的，无知的，是最容易被歪理邪说所煽动所迷惑的所利用的。

这也就不难解释，为什么每次变革中牺牲最多的是这种人，而分得到的利益最少的还是这种人，毋宁说他们的自身地位在任何暴力革命中都没有发生实质性的变化，作为工具的使命一旦完成，等待他们的就像那只剧中“野兽”一样的命运。

剧中反派好像说过，那只“野兽”是长生不死的，这好像也在暗示着什么。

尽量跳出带有自身阶级的深深烙印那种历史观，你是否会像我一样发现，A或B或C之间的矛盾，相似的说法就是利益冲突的时候，往往会寻找其agents,借由某种特定的带有鼓动性质的理由，拉大旗扯虎皮一般的堂而皇之的打击其对手，维护自己的利益。

想起来某人的话，原话记不得但大意是说：自由，有多少人假借汝之名而行而行恶之实。

这里“自由”两个字，我想可以用任何人类美好的欲望去替代。

打着高尚的名号，披着自由的外衣，利用宗教的手段，类似的排比句可以一直延伸。

下笔千言，离题万里，但终须一折，言归正传。

一部电影抑或是任何一部文学作品，最能吸引人的不是那些血雨腥风的恐怖情节，而是爱情的力量，让我们看到了光明和希望。

小小的电影装不下太多的内涵，但是爱情这个亘古不变的主题确实不断吸引着人去一探究竟。

否则，你怎么也理解不了剧中人物为什么会死而复生的奇迹（英文字幕中称作神迹）。

用爱情的力量可以战胜一切，虽然显得形而上学，但是至少我还是很饱受鼓舞。

很多人给的评分过低的原因是剧情显得过于拖沓冗长，这个我真心反对，对于速食或快餐主义盛行的今天，还有什么比娓娓道来，丝丝入扣的情节更能让浮躁的心沉静下来的呢。

写到这吧。

其实看这部电影还是冲的莫妮卡贝鲁奇去的，本来对这一题材的的电影没有很大的兴趣。

莫妮卡还是那么美，只是也仍旧像她大部分电影一样在角色上没有什么突破，饰演的妓女很华丽。

很喜欢她刚出场时的那个面具，记得苏菲玛索在演安娜卡列尼娜中也有戴面具的一幕。

同样的黑色蕾丝面具。

索菲演绎出的是清冷的感觉，而莫妮卡则是一贯的妖艳。

她就像是一条吐着信子的蛇，冰冷却让人忍不住想要靠近。

致命的诱惑。

不知道为什么，我喜欢欣赏女性多过于男性。

女人的美不仅仅只有男人呢会欣赏，女人欣赏女人的美可能更切实更实质。

向来喜欢直接而率真的女人，往往很简单的白衣牛仔就足够让人心动不已，繁琐的装扮只会掩盖掉他们本身独特的气质。

很早的时候喜欢王祖贤，喜欢她在城市猎人中的造型。

简单而耐人寻味。

现在红颜老去，留给我们的也只是当年荧屏中那永恒的身影。

时间对女人是残酷的，但也有人在岁月的洗礼中越发闪亮的，如珍珠一般，散发着的是幽静的光泽，如张曼玉。

现在的她比青蛇中她更沉稳，更有女人味。

常常听人用女人味这三个字来形容女人，自己也会不知觉的那样说。

可是到现在也不能去很好地理解这个词，姑且把它理解成一种对人对事的成熟的态度和观点吧。

他们褪去了小女孩的青涩和爱做公主梦的习性，他们会把时间更多地放在充实自己上。

他们会在空暇时间去阅读一些好的书籍而不是把精力浪费在逛街购物上。

他们对别人往往更宽容而不是像像小女孩般锱铢必究。

他们会花更多的时间在布置家庭上而不是在看韩剧上。

他们遇到困难时会努力让自己笑的更灿烂而不是无助地流泪，因为他们明白了眼泪的荒凉和徒劳。

他们更愿意存上几个月的薪水去买一件自己中意的首饰而不是去买一堆廉价的首饰，把自己打扮成一棵圣诞树。

女人到了一定得年龄应该有那么一两件拿的出手的首饰，即使以后拿来送人也是件很有意义的。

好吧。。。。

我彻底跑题了。

原谅我吧。

影片虽然长了点，也还不至于让人感到无聊。

一只专伤害妇孺的猛兽，追查事实真相的皇家标本师。

中世纪的法国，浓郁的异域风味，流行的浓妆和假发。

再来点格斗作为调味剂。

当然还有莫妮卡·贝鲁齐性感的裸体。

喜欢中世纪欧洲的朋友会喜欢这个片子。

挺好看的我觉得。

整部影片围绕着法国大革命前夕，当时民众被所谓的“怪兽”侵扰，国家组织各方力量来围剿“怪兽”，一时流言四起，最后将所谓的“怪兽”归咎于狼族，接着就是不断地剿灭狼族，其实“怪兽”就是政治家臆造出来的，可以说这是一部披着狼皮的阴谋夺权的政论电影。

这其中也不乏爱情，但是爱情在这部电影里的比重很轻，可以说是一种修饰，公主和骑士的爱情似乎是那个时代背景下的偶然，他们爱情的纯洁也似乎是对当时环境的一种讽刺。

如果说哥特式电影是一种更加倾向于艺术的，确切的是更加带有恐怖色彩和神秘气氛的艺术作品，它给人带来的是另一种感觉，恐惧、不安，直接裸地剖析人性的思考，那么《狼族盟约》做到了。

关于宗教和信仰在众多电影中，都有关于宗教和信仰的话题，本部影片中所谓的教义最后都被证明是政治阴谋。

是洗脑的一种方式，而片中印第安人的信仰，却显得那么有力量，它注重自然，尊重真理。

这里不由得让人们讨论起宗教的本质问题，肯定有很多观众不假思考起宗教的本质，宗教的本质可能是灵魂的慰藉，或者说是对自然的尊重，或者说是人们对未知世界的一种想象。

它是哲学的一部分，在任何国家的历史长河中，都扮演着重要的角色。

但是当它被政治所利用的时候，历史往往会证明，它仅仅是政治的掩饰。

在很多时候，或者说在一场革命爆发之前，都有其沉淀许久的怨愤，都有其已经根深蒂固的矛盾。

宗教这个时候往往被利用，往往被披上虛假的外衣，制造所谓的“怪兽”，制造恐慌，愚弄民众，这个时候宗教的本质被曲解了，被利益化了，不再被用来净化心灵，净化世界。

在影片中能看见法国传统的浪漫情怀，公主的圣洁和骑士的勇敢之间摩擦出爱情火花，给人一种唯美的感觉，公主和骑士的爱情在当时的背景下，似乎是一种奢望，整个社会都弥漫着恐怖的气氛，整个国度都似乎笼罩着沉重的阴霾，他们之间的爱情，似乎就是黑暗中的那一点点灯光，照亮心灵，给人希望。

这不仅让人想起影片中的一个细节，当所谓的“怪兽”呈现在国王王室的时候，所有的人都在假惺惺地庆贺，明知道是假的，明知道是自欺欺人的，这似乎充分体现了革命爆发之前的一种征兆，政治高层的不作为、自欺欺人、腐朽等都是征兆的特征之一。

这部影片似乎也有这方面的含义，当宗教被政治无限地利用的时候，它将不是人们心灵的寄托，而是政治家们控制民众的绳索，在这种模式下，很多行为都被视为上帝的指示，很多行为就变得更加理所当然合乎情理。

说一下这部影片的叙事流程，导演采用悬疑的叙事方式，所有谜团到影片的最后才得以揭开。

整部影片是有事实依据的，在18世纪60年代中期，是法国国王路易十五统治时期。

在法国吉瓦冈地区，很多妇女和儿童不断地受到一只凶残的巨狼的迫害，人们胆战心惊，全国上下一时间都被这些触目惊心的杀戮震惊了，他们每天生活在恐惧当中。

为了安抚、安定民心，国王决定命令皇家骑士弗朗萨克及其随从玛尼赴吉瓦冈捕杀怪兽。

弗朗萨克从最开始就对巨狼的存在产生很大的怀疑，因为据幸存者描述，恶狼体形惊人，而他是特别擅长制作动物标本的，即使这样，他也从未见过这种庞然大物。

在当地调查期问，弗朗萨克爱上了当地伯爵的女儿玛丽安，他的勇敢和坚强征服了玛丽安，他们坠入爱河，同时他还与美艳动人的官妓西尔维亚上床，这似乎是对当时法国社会腐朽的一种讽刺，并结识了玛丽安的哥哥让·弗朗索瓦，他在非洲猎狮的时候一只手臂被咬掉了。

但是随着调查的逐渐深入，弗朗萨克从一具被害者尸体上发现了一颗钢牙，而且一位目击证人发誓地说有人正在控制着这头巨狼，这头狼是被人控制的，于是弗朗萨克开始希望通过研究其攻击的方式找到线索，但最后却一无所获。

这样的结果也招致品了国王的不满，于是国王又派来了一位武器专家波特纳，但是这位专家立功心切，简单捕杀了一只野狼，同时让弗朗萨克对其改头换面，制作成一头巨狼被送回巴黎，国王和贵族，并不知道其中的真相，顿时欢欣鼓舞，这又从另一方面极度地讽刺了当时的政治环境，一切都是虚假繁荣，一切都是皇帝的新装。

在巴黎，弗朗萨克看到了一本红色的书籍，这本书主要阐述的巨狼是为惩罚沉迷干哲学和科学的国王而来阐述反叛理论，弗朗萨克马上意识到巨狼可能是狼族兄弟会的工具这一事实，这个秘密组织计划以所谓的“怪兽”来破坏公众对国王的信赖，进而控制整个国家，在国家角度来讲，这个组织是个反动组织，他们不惜牺牲民众的生命，制造恐慌，制造混乱，但是这也正是当时那种极端腐朽的社会矛盾积攒到一定程度的反映，反之如果一个国度，国王英明，治国有方，百姓安康，天下太平，又怎会出现凡此种种？

然而假的毕竟是假的，真正的巨狼还是没有被抓捕，它仍旧在危害百姓，弗朗萨克没有顾及警告，毅然决然地返回吉瓦冈，他想彻底铲除巨狼同时带走玛丽安。

玛尼一个人在一次激烈战斗之后，发现了巨狼的巢穴，在那里竟然居住着狼族兄弟会成员和一群吉卜赛人，寡不敌众的玛尼最后还是倒在了血泊之中，这是故事的一个高潮，从某种程度来说，玛尼的信仰是正确的，是纯洁的。

在知道好友惨遭不幸之后，弗朗萨克变得悲痛欲绝，在尸检中，他从玛尼的身体中发现了一颗银弹，然而只有让·弗朗索瓦才使用银弹。

极度愤怒的弗朗萨克要为玛尼报仇，于是接连杀了很多吉卜赛人，同时还发现了巨狼的巢穴。

政府把弗朗萨克关进了监狱，在监狱中，他见到了西尔维亚，原来，西尔维亚是梵蒂冈派来的密探，而当地牧师萨迪斯居然是狼族兄弟会的首脑，弗朗萨克知道过多内情，于是她受教皇指派来刺杀弗朗萨克。

弗朗萨克被埋葬了，但实际上，西尔维亚的毒药只让他暂时昏迷。

弗朗萨克很快被西尔维亚手下营救，并随即出现在狼族兄弟会的秘密集会上。

在浴血奋战中，弗朗萨克杀死了实际控制着巨狼的让·弗朗索瓦，山中狼群则吃到了逃亡到山里的萨迪斯。

最终，弗朗萨克在狼巢中找到了恶狼，它已经在经过恶战之后变得奄奄一息，原来，它是一只被让·弗朗索瓦从非洲带回的怪兽，受过攻击人类的训练，最后，弗朗萨克让它安然死去。

以上就是这部影片的主要故事内容，包含的情节所反映的东西是很发散的，可以让不同的人有不同的感受，从我的角度来说，最主要的就是有关政治和宗教的关系，影片的背景画面也是看点之一，法国波旁王朝那个时期的风格，不论是古老建筑，还是装扮服饰，都给人一种别样的雍容华贵的感觉。

影片中的惊为天人的莫妮卡·贝鲁奇和艾米莉·德奎恩，一位是清纯动人的伯爵女儿，一位是妩媚的，当画面停留在她们身上的一刹那，宛如一幅精美的油画。

任何一部电影，背景音乐都很重要，它要和影片的。

故事进程融为一体，更好地和故事的灵魂完美结合，这部影片的音乐就很成功，它大气豪华中带平淡，它时而将人带入紧张气氛，时而将人带入浪漫气氛，像史诗一样。

影片和其他好莱坞影片相比，不是那么紧凑、震撼，欣赏它的时候，会犹如欣赏一幅缓缓舒展开的画卷，如行云流水，使人舒服，使人对片中的故事人物和情节都能有很好的理解。

往往会是这种情况，很多影片谁也搞不清它到底想说什么，但是片中的某个场景、某个情节，却会让人感到什么，而这往往是成功的。

特别欣赏片中的服饰，十七八世纪的欧洲服饰，对我而言，我更加欣赏剧中印第安人的眼神，它带有坚韧和智慧，具有远古气质，同时其信仰，和动物的沟通，无非就是对大自然的尊重和理解，这种古朴纯净的气息在现代社会中是很难找寻的。

总之，这部影片中，狼不是怪兽，人也更不是人，狼被政治利用，也就是被人利用，群众也被政治家诱导，矛盾充斥在整个社会，随时爆发，任何因素似乎都无法阻止革命的爆发。

这部影片是成功的，至少引起了很多思考。

电影艺术的魅力就是这样，它能从不同的角度来诠释历史、爱情、信仰。

它能让现代的人们感悟历史的教训，历史的轮回，能让现代的人们领会曾经的爱情，能让现代的人们体味宗教在特定时期的真正含义以及对信仰的重新坚守。

对现代人的启示很生动形象地呈现出来，这是其他艺术作品所达不到的。

再说这部影片的外在表现形式，它集结了美、亚、欧三方面的电影人士，剪接得很有张力，动作设计也很漂亮，其中给人印象深刻的是印第安人的武士这个角色，这个人全场给人很冷很酷的感觉，一人对付一群人，他能和自然通灵，让人倍感神秘，片中他简单地和“女巫”的眼神交流，恰到好处地表现了这个印第安人的爱情渴望，他的话不多，但时时刻刻都在传递各种信息，这是导演的成功，更是演员的功夫所在。

导演克里斯多夫·甘斯好像要履行约定，想要让所有观众人人满意，即使不是好莱坞史诗片，但是有慢镜头的原野场面；即使没有深究政治内涵，但是有宫廷阴谋的情节；即使没有电脑制作的怪兽，但是有比恐龙还怪异的“怪兽”；既有色情的，又有古代欧式妓院刺激你的荷尔蒙，等等，这些都足以在影片中欣赏到。

画面精美绝伦，剪接张弛有度，动作设计相当漂亮，值得推荐。

盛佳蓝光标注

实在是没法评论的一部电影，你说它不好看吧，有一二个美女，有一二个还勉强能说得上是帅哥，有血腥有暴力有情色有政治有阴谋，可是就是说不上是个什么玩意儿，故事故事乱糟糟，主题主题说不清，看得是一个懵字了得。

服饰布景很漂亮，画面配乐也精美，情节推进也不慢，但两个半小时，还是够折磨人的，如果要精简得讲完一个故事，能删一半都多。

我有一堆问题哪个能帮我解释清楚？

说实在人名我都没搞清（法语除了您好谢谢其它我是一句不懂），除了玛丽安和曼尼（比较简单大众），卡索演的那个哥哥叫什么(什么什么尚？

尚什么什么？

)？

做标本的这个人叫什么？

莫妮卡演的叫什么？

搞个兽医和那个疯女人的角色做什么（大革命之前的年代，要证明他们是被压迫的人民从而参加秘密结社？

）？

曼尼喜欢那个疯女人？

为什么最后才怀疑那些穿得像原始部落人一样的人（第一次狩猎时没看出来这些人有问题？

这些人是什么人？

农民？

猎户？

从何处来往何处去？

）？

大幅度渲染妓院的情节有什么意思（就为了让莫妮卡露露？

我实在受不了那个半拉子英雄又说爱玛丽安又去嫖妓）？

那个疯女人到底是谁杀死的？

或者是有不止一个疯女人？

渲染这哥哥爱上妹妹又是什么意思？

那个什么沙丁又到底是什么人，和他们家是什么关系？

真是乱!

非常棒的电影！

画面精美！

剪接张弛有度，动作设计相当漂亮。

尤其是印第安人的武士这个角色，给人印象深刻！

商业动作片的典范！

光看那海报都已经有那感觉了。

海报都那么 帅 当然电影也不会差到哪啦！

就这样的心理。

看了 Brotherhood of the Wolf ！

一开篇营造的氛围真的很不错。

野蛮人，怪物，弱小的，很好的对比。

还有，开篇在雨中小战那一场也是，很棒！

里面也不缺乏法国人的浪漫！

撒迪西第一次见到那为贵族小姐时候帮她解围那段就是极其浪漫搞笑的。

这部电影的 调子控制得很好！

难怪听到有人说，不看字幕只看画面就能明白电影表达的意思了。

整个故事编的也不错。

设计的服装还有涉及到的情节也是值得炫耀一下的...

R.I.P. Émilie Dequenne (1981-2025), the brilliant Belgian and the recipient of Best Actress award at Cannes for her first acting gig in Dardenne brothers' Palme d'or winner ROSETTA, has sadly succumbed to a rare cancer at a young age of 43. Dequenne is endowed with a superb knack for disappearing into a role, making her performances feel both instinctually naturalistic and uninhibitedly expressive. After ROSETTA catapults her status as a promising young thespian, her follow-up, Christophe Gans' BROTHERHOOD OF THE WOLF is an authentic Gallic blockbuster. A lush, genre-mashing period epic where Dequenne takes on a smaller but still intriguing part cannot be more different from the one in ROSETTA ROSETTA is a stripped-down, bare-bones exposé of underclass subsistence. It’s not trying to charm or entertain, but to make audience feel something real but also too close for comfort, regarding poverty, misery and struggle with no buffer between spectators in cushy seats and the relentless hardship on show. In short, a poverty porn in its most effective and acute fibers. The plot follows our titular heroine, a teenager living in a dreary caravan park with her alcoholic mother (Yernaux), scraping by on the edge of the society. Her sole hope is to find a stable job, and the only way to achieve that turns out to be a cruel zero-sum game, to heartlessly betray the kindness of Riquet (Rongione), a coworker who befriends her and throw him under the bus, especially after that cardinal scene where Rosetta hesitates while Riquet falls into the murky lake, flailing, in real danger of drowning. Rosetta's longer-than-it-is hesitation is brutal. It’s not cinematic suspense but ethical discomfort. The camera traces her face, and we can see the storm inside her: should she help him or not? And what’s devastating is that, for a few long seconds, she leans toward not. Not because she hates him, or because she’s evil, but because she’s desperate, beaten and exhausted. She knows that if he dies, the job at the waffle stand - the one lifeline she clings to - could be hers. This is one of the film’s most daring moves. The Dardennes refuse to protect Rosetta from her worst thoughts. They let her hover on the edge of some horrible thoughts: letting an innocent person die out of her personal economic desperation. It’s a moment that rips away any illusion of moral clarity. The world has taught Rosetta that survival is a ruthless game, that there is no room for compassion, only competition.But then she thinks better of it and rescues him. This action doesn't erase the hesitation. It doesn't redeem her in a neat way. But it does mark a crack in the hardened shell she's built around herself. It’s one of the few choices in the film that feels free - ungoverned by necessity, nor by the grim laws of a world where everything must be earned in pains. She chooses to save Riquet simply because, despite everything, a trace of moral instinct remains. That’s the genius of ROSETTA. It shows us that morality, especially in a world like that, is messy, costly, and sometimes even irrational. The fact that she nearly lets Riquet drown makes her human whereas the fact that she doesn’t makes her still worth rooting for. In a lesser film, this would be the redemptive climax. But Rosetta keeps going. It keeps grinding. The weight of survival doesn’t lift. But we, and Rosetta, are left with the memory of that decision - a moment when she could have been monstrous, and wasn’t. A reminder that even in the ugliest conditions, humanity clings on by its fingernails.The Dardennes’ approach is famously no-frills. Handheld cameras, natural lighting, and zero gloss over its milieu, a cinema-vérité style mixed with a stimulating guerrilla kinetics. The camera is almost invasive in how close it sticks to Rosetta, her face, her hands, her feet stomping through the mud. We barely get a second to breathe without being pulled into her smoldering rage and frustration of constantly getting the short end of the stick, her kept-to-herself tenacity, or the incessant pain from her period cramps. ROSETTA's focus on natural sound rather than a traditional score only adds to the Dardennes’ felicitous evocation of realism. The sound design focuses on the grating, everyday noises of Rosetta’s environs: the crunch of gravel under Rosetta’s boots, the droning noise of the factory where she briefly works, and the susurrus of the sylvan area where her digs are. No emotional manipulation through music - just the raw sounds from real life. There’s no color, no warmth. The film is washed out and gray. The caravan park itself feels like a cage - muddy, gray, and bleak. Even Rosetta herself looks drained of vitality, dressed in cheap, worn-out clothes. The Dardennes avoid any kind of aesthetic appeal because the film is meant to hit a raw nerve, exposing the underside of a developed Western country many folks refuse to acknowledge. Dequenne’s performance is all in the body language - tense shoulders, a clenched jaw, defensive eye contact. You can feel how much emotional energy it takes for Rosetta just to get through the day. She’s desperate to find stability, but also held back by her mother - a lush who cannot shake off her jones - who is as much a weight around her neck as the poverty they live in. Just when the film heads to a dismally tragic end, the Dardennes scores with a finale that is quietly devastating and, at the same time, subtly redemptive. Attempting ending her misery by turning on the gas, Rosetta strains to carry a gas canister - a heavy one - back to her trailer (for her, the bitter irony is that even suicide comes with a price tag). The canister is an obvious metaphor for the life-size burden she must grapple with. Then Riquet arrives on his moped, circling around her noisily, and she puts down the canister, finally cracks up. There’s the beginning of a tremor in her voice. She breathes heavily, perhaps for the first time in the whole film, and we can almost see her letting someone in.This ending is masterful for a few reasons. First, it’s ambiguous but emotionally clear. The film ends with an act of human decency. It signifies that even in a base, survivalist world, there might still be room for forgiveness, for solidarity, for connection. Secondly, it is a moral ending without being moralistic. In the end, Rosetta is not cheaply saved, but she pauses, and that pause is monumental. After 90 minutes of relentless motion, of trying to fix her life through sheer will, she finally stops. In that moment, something human is rekindled.It’s also important to recognize that the Dardennes are offering no easy solutions. Rosetta’s life won’t suddenly be all's well. But she’s no longer alone, and that small, stubborn act of mutual recognition with Riquet is enough to breathe life into a closing image that could otherwise have been hopeless. It tells us that while systems may fail, and institutions may be indifferent, individuals still have the power to break cycles - if only for a moment. It’s not a fairytale ending, but in the Dardennes' harsh universe, it might as well be a miracle.

If ROSETTA is hard-edged and minimalist, BROTHERHOOD OF THE WOLF is maximalist in every possible way. Gans’s film is a wild mix of period drama, creature horror, mystery thriller, and political intrigue, set during the Age of Enlightenment. It’s loosely inspired by the real-life legend of the Beast of Gévaudan - a mysterious creature that terrorized the rural French region. The story follows Grégoire de Fronsac (Le Bihan), a naturalist and royal agent, who is sent by the King to investigate the atrocious, almost supernatural killings attributed to the mythic beast. Fronsac is accompanied by Mani (Dacascos), an American Indian from the Iroquois tribe who has become his blood brother. As the pair digs closer to the truth, if laboriously (as the film is 2 and a half hour long), in time they will discover that the beast is not a natural creature but a secretively fashioned and controlled weapon, part of a political conspiracy to undermine the crown and exploit the growing unrest in the country. Eventually, BROTHERHOOD OF THE WOLF comes through as a full-bore rampage on the clash between Enlightenment rationalism and religious superstition, as well as sending the sideswipes to the political manipulation of fear.Gans goes all-in on spectacle here. Lavish period costumes, huge set pieces, engaging fight scenes choreographed straight out of Hong Kong cinema, with slow-motion flips and swashbuckling flourishes. The creature itself is a blend of puppetry and animatronics (designed by Jim Henson's Creature Shop), with CGI-assisted effects to smooth out the discrepancies. The beast looks both organic and unnatural, which gives it a genuinely unsettling quality. The film also has a kind of dark fairy-tale atmosphere - lots of shadows, candlelight, and ominous fog rolling over the countryside.Dacascos is the film's biggest secret weapon. On paper, Mani seems to be the stoic "noble savage" trope pasted into a racist Europe for flair. But Dacascos dodges that trap by grounding him in simmering intensity and spiritual presence that consistently turns heads. He's a man of few words, but every gesture speaks volumes. His stillness is as commanding as his movement, which brings a grace and precision to Mani’s fight scenes that feel balletic, fluid but also grounded, almost ritualistic, hinting at a connection to an otherworldly universe - a worldview shaped by nature, balance, and ancestral knowledge. His combat style contrasts sharply with the baroque violence of those French barbarians and the snarling chaos of the beast. There’s a discipline to Mani’s presence, something elemental.What’s perhaps most impressive is that how much non-verbal work Dacascos does. Mani isn’t given a lot of dialogue, but he communicates with expressions. There’s a palpable sense of history and pain behind his eyes - this is a man who has lost his homeland, who walks in a foreign place that sees him as alien, and yet he carries himself with calm authority. In a story that often critiques the Enlightenment’s hypocrisies - its tendency to proclaim rational order while hiding grotesque violence - Mani stands in for another kind of wisdom. He represents a form of knowledge that isn't written in books or debated in salons. He knows the forest, he respects the dead, he moves like a ghost through a land that doesn’t know what to do with him.There’s also the unspoken commentary that the film slips in with Mani's harrowing death: the outsider, the one most in tune with nature, is the one to be sacrificed. The moment Fronsac sees Mani's corpse, any pretense of diplomacy or rational investigation drops away, marks a turn in the story toward unrestrained chaos and vengeance. Dequenne plays Marianne de Morangias, the daughter of a local aristocrat, the apple of Fronsac's eyes. It’s a supporting role, but Dequenne makes her presence felt, she’s controlled and subtle, dutifully playing a damsel in distress within the formal confines of nobility.Cassel, as Marianne's brother Jean-François, carries himself like a man who believes in his own superiority - social, physical, intellectual - but there’s something rotten underneath, something festering. Cassel leans into that decay with delicious intensity. His facial expressions shift rapidly - from charming to menacing, from amused to dead-eyed. He’s magnetic precisely because he’s so unpredictable. There's a hint of the dandy villain about him, but it's twisted further by a creeping sense of obsession - particularly in his scenes with Dequenne, where the presence of a one-sided attraction gives their dynamic a faintly gothic, almost incest-drama-meets-werewolf-movie kind of vibe.Jean-François’s backstory - his injury, his time abroad, his missing hand—only adds to the mythologized weight of the character. And when it’s revealed that he’s behind much of the carnage and fearmongering, Cassel drops the mask completely and revels in the character’s moral unraveling. In full villain mode, he’s Shakespearean: arrogant, bitter, and fully convinced of his own right to dominate. It’s an over-the-top performance in all the best ways, perfectly matched to the film’s high-pulp sensibility.Then there is Cassel's then partner in life, Bellucci, as Sylvia, the impossibly glamorous Italian courtesan who becomes romantically entangled with Fronsac. At first, she seems like a stock femme fatale - witchy, sensual, aloof. But Bellucci knows how to play with that archetype, and slowly we begin to suspect there’s more to Sylvia than silk and smoky glances. And sure enough - there is. It’s a fun reversal that repositions her not as the seduced, but as the one in control. Bellucci plays the double role - lover and agent - with icy cool. She doesn’t overplay the reveal; instead, she lets Sylvia’s intelligence telegraph through minimal gestures, loaded silences, and strategic manipulation. What’s particularly effective is that Sylvia never drops her mystique, even after her motivations are revealed. She’s enigmatic to the end, a conduit of both desire and disillusionment. Bellucci keeps the tone just right - seductive, slippery, always a half-step out of reach.On the debit side, Le Bihan is a bit of a mixed bag here. He’s the official lead, the rational Enlightenment-era man of science turned reluctant warrior. While he looks the part - ruggedly handsome, well-costumed, and physically up to the task - his performance doesn't always match the theatrical hijinks or charisma of his co-stars. He delivers his lines with clarity, but rarely with the emotional punch or tension that the stakes seem to demand. It’s not that he’s bad, just a bit bland. Thankfully, when Fronsac is thrusted to be an avenging force in the third act, Le Bihan gets to show some piss and vinegar, his grief becomes palpable, a killing spree and a one-to-one throw-down that follow give him a chance to step out of his moral limbo and comport himself as a legitimate, rousing action hero.After all, BROTHERHOOD OF THE WOLF is a rare example of cinematic excess that somehow works precisely because of its contradictions. It’s overstuffed, tonally chaotic, and often ridiculous, but also bold, visually arresting, and completely unafraid to take risks. A handsome revenue (grossing over $70 million in worldwide theatrical release) is a meritorious reward. referential entries: Joachim Lafosse's OUR CHILDREN (2012, 6.7/10); Albert Dupontel's SEE YOU UP THERE (2017, 7.7/10); Luc and Jean-Pierre Dardenne's THE PROMISE (1996, 8.0/10), TWO DAYS ONE NIGHT (2014, 8.6/10). Title: RosettaYear: 1999Genre: DramaCountry: Belgium, FranceLanguage: FrenchDirectors/Screenwriters: Jean-Pierre Dardenne, Luc DardenneComposer: Jean-Pierre CoccoCinematographer: Alain MarcoenEditor: Marie-Hélène DozoCast:Émilie DequenneFabrizio RongioneOlivier GourmetAnne YernauxBernard MarbaixFrédéric BodsonFlorian DelainRating: 8.1/10

English Title: Brotherhood of the WolfOriginal Title: Le pacte des loupsYear: 2001Genre: Action, Horror, Adventure, Mystery, DramaCountry: France Language: French, Italian, GermanDirector: Christophe GansScreenwriters: Stéphane Cabel, Christophe GansComposer: Joseph LoDucaCinematographer: Dan LaustsenEditors: Xavier Loutreuil, Sébastien Prangère, David WuCast:Samuel Le BihanMark Dacascos Vincent CasselÉmilie DequenneJérémie RenierMonica BellucciJean YanneÉdith ScobJean-François StéveninBernard Farcy Jacques PerrinHans MeyerPhilippe NahonVirginie DarmonJohan LeysenJean-Loup WolffNicolas VaudeMichel PuterflamBernard FressonEric PratAndré PenvernGaspard UllielRating: 7.4/10

第一次观看《狼族盟约》是在毕业后工作不久，那时仍处淘碟时代，街头的影碟店便如今天的沙县小吃或者兰州拉面。

有个同事是个中发烧友，向我极力推荐了此片。

一晃十年有余，故事轮廓业已淡漠，但影片神秘的氛围以及莫妮卡·贝鲁奇的惊鸿一瞥尚记忆犹新。

重观本片，予我最深刻的印象却换作了布景与服饰。

由于故事脱胎于十八世纪的法国真实事件，因而影片对当时服饰的还原度可谓精良。

那个年代正值法王路易十五统治时期，恰是洛可可风格被发扬光大的阶段，从装潢到家具、再到服饰，无不散发出纤美、精致、浮华、繁复的风格，就连片中的妓院也充满了宫廷般的脂粉气。

若论对享乐、艳情和肉欲的承载力，「洛可可艺术」当仁不让。

与女性化的轻巧和甜腻相对的，是来自神秘怪兽的恐怖威胁，两相对比，愈发凸显出吉瓦丹地区人民的柔弱与无助。

导演克里斯多夫·甘斯对神秘氛围的把握在此片中就已显山露水，五年后他更是神还原了经典的游戏《寂静岭》。

神秘不仅来源于怪兽，还有两个神秘的人物，一个是跟随男主法兰沙的印第安男仆马尼，非但身手矫健，还会些不明觉厉的秘术；另一个则是意大利妓女西尔维娅，莫妮卡·贝鲁奇完美诠释了神秘和冷艳，床笫间的她令人联想起法国画家布歇笔下的《躺在沙发上的奥达丽斯克》，丰满健美、曲线柔和，尽显致命的诱惑。

当然，她还有另一个不为人知的隐藏身份。

影片的前半部分云山雾罩，怪兽、村民、贵族、吉普赛人、还有法兰沙等外来客，令小小的吉瓦丹地区风云际会。

围绕着犹抱琵琶半遮面的怪兽，各派人物之间自然亦有一番勾心斗角，恐惧、猜忌、焦虑，再加上导演善于搞一些神秘莫测的蒙太奇，形成外有怪兽肆虐，内有尔虞我诈的局面，遂令悬疑加剧。

直到马尼冒死闯入一个地下墓穴并用生命的代价才换来了事件的冰山一角，所谓的怪兽非是天灾，实为人祸。

当地的神父萨迪西以及贵族让-弗朗索瓦秘密组建了一个兄弟会，并驯养改造了一只来自非洲的野兽（片中未点明，但应该是狮子），利用它制造惨案来逐步破坏人们对国王的信心，从而达到政治与宗教上的险恶目的。

事实上，历史的原貌简单得多，但导演加入了政治宗教的阴谋，让这一事件显得更加扑朔迷离，也和法国大革命前夕的动荡迷茫、暗潮涌动联系了起来。

《狼族盟约》格局上的大气细腻，服饰镜头上的精致考究都是值得肯定的地方，然而这些终究难以掩盖本片「形式大于内容」的缺憾——同样也是洛可可风格本身的命门。

影片杂糅了历史、宗教、恐怖、情色等元素，但毕竟贪多嚼不烂，何况导演过于注重神秘化、娱乐化的表现方式，以至于使得前两者不但没有起到增加作品厚重感的作用，反而彻底沦为附庸，不免有点可惜了。

虽然是比较早期的法式魔幻片，外界评价也褒贬不一，但花哨的打斗场面、路易十五时期的骑士之风、明星云集的大制作，都不失为本片的看点。

至于纷繁复杂、啰哩啰嗦的台词以及融合了世界电影史上各类风格于一身的超级混合大片，却拖了大导演的后腿，在我的排行榜上只能屈居第十。

一句话点评：《狼族盟约》像是吴宇森错吃了金凯瑞的药、错喝了李安的茶、错穿了斯匹尔伯格的衣服，然后逼着阿兰德龙按成龙的调子来唱戏。