故事围绕着一男两女的三角恋爱，一个无业游民的知识分子，却有两个女郎争相爱他，一个是年轻护士，以美妙的性技巧和情色笑话令他得到感官的满足；另一个是徐娘半老的女友，却供应他的食宿。他们以为享受齐人之福，三人大被同眠，结果搞得大家痛苦不堪，最终一个试图自杀，另一个以结婚作为回心转意的条件，筋疲力尽的他只好向婚姻投降。

这是英年早逝的法国导演让.厄斯塔什1974年导演的一部出色的青春片,本片讲述了一个青春期少年成长的故事,影片的格调清新写实,还原了上世纪同时期法国小城的生活和社会现实,同时通过对性暧昧的描写也出色的勾画出了青春期的困惑和诱惑,在主角小男孩一步步在诱惑下失去纯真走向改变的过程中也隐喻了导演的个人表达,我个人觉得本片很出色,应该算同类题材中很优秀的一部作品.

Ostensibly an informal guided commentary through personal photographs taken by Alix Cléo Roubaud for a young interviewer (Boris Eustache), Jean Eustache's Les Photos d'Alix ingeniously explores the nature of reality and perspective within the framework of documentary filmmaking. This sense of trompe l'oeil is prefigured in an early double exposed photograph of Alix's husband, novelist Jacques Roubaud taken from a London hotel room, explaining that the duality had been intentionally developed in order to simulate an elongated profile that more appropriately conforms to the traditional notion of a Hollywood style bed, a manipulation of image that is also illustrated in a subsequent photograph of an induced sunset created by selective masking. Eustache's approach to the film similarly expounds on Alix's photographic experimentation, juxtaposing the curious image of a smiling, shirtless man seemingly disembodied below the rib cage against Alix's comical, if askew anecdote on plying a friend with alcoholic beverages in order to look more relaxed as she takes his picture on a couch. In another humorous episode, Alix conveys the fond memories her father through what she describes as the most iconic image of him from her childhood, revealing a shot of a driver's ear and receded hairline taken from the back of a car, his face partially visible only through the reflection of the rearview mirror. Soon, the conversation grows even more puzzling, as the young man apparently fails to recognize himself in a photograph, Alix incongruously points out the admirable physicality of an unknown man who was accidentally captured on film, as a naked, overweight man stands on the side of the frame, and her revelry on the coincidence of having two former romantic interests converging in the same shot is seemingly reduced to the banal image of a pair of worn boots. As Alix's insights into her sources of inspiration and creative process become increasingly dissociated from the images, Eustache illustrates the point of rupture between the visual and aural, where filmed storytelling lies, not in the symmetry of information, but in its chance intersections and disjunctions.
---- from strictly film school

Daniel needs some money to buy a duffle coat that is in fashion, so he agrees to work for a photographer by dressing up as Santa Claus. He discovers that it is much easier to meet girls when he is in his costume.

Two men in their twenties spend their time in Parisian cafes trying to pick up women. They take one girl dancing, and then steal her purse when she prefers to dance with another man.

这部电影在厄斯塔什与其祖母奥代特·罗贝尔居住的公寓中拍摄。祖母复述了自己在法国历史上跨越六代人的身世。除了简短的无声序幕后，整部电影是从两个固定的机位以一个镜头拍摄的：一部在右侧拍摄奥代特，厄斯塔什于左前方背对镜头；一部近距离拍摄奥黛特。厄斯塔什通过于拍摄中在开拍版上做出标记的方式，让我们认识到两部摄影机交替工作的运行时间，一部摄影机拍摄时，另一部可以换交卷。一盘接着一盘，一共用了10盘。交卷用完时，电影结束。厄斯塔什以这样一种方式复述了历史，即“时间”不会丢失，时间等同于电影的持续展现。这部电影只在法国电视上播放过一次剪辑版，而完整版只在厄斯塔什自己的公寓中对他的 8 个朋友放映过一次。——参见《电影的虚拟生命》D.N.罗德维克 华明 华伦译

Jean Eustache (1938-81) was clearly obsessed with remakes. Not only did he remake his 1968 documentary about his home town, LA ROSIÈRE DE PESSAC, in 1979; he also remade his 1977 documentary UNE SALE HISTOIRE twice—first as a fiction film, and then, less literally, as a documentary about Bosch’s “The Garden of Earthy Delights” two years later.
Let me explain. The first version of UNE SALE HISTOIRE, designed to be shown second, and shot in 16mm, features Jean-Noël Picq recounting a supposedly real-life “dirty” story to a group of people, mainly women (although also including Eustache himself, visible in the foreground of a couple of shots)—a tale about peering for hours through a hole in the wall of a café into the ladies room in order to watch the snatches of women seated on the toilet. (He calls the women’s snatches their “holes,” and the word trou is repeated incessantly throughout his monologue.) The second version, shot in 35mm and designed to be shown first, adds a short prologue with critic Jean Douchet as a film director (an apparent stand-in for Eustache) asking Michael Lonsdale to tell the same story, this time to a different group of people (again mainly women, but not including Eustache)—which he does, using virtually the same words, while the women listeners make precisely the same comments. (The only previous time I saw this film, in Paris soon after it was made, these separate versions were shown respectively in 35mm and 16mm. In the Eustache retrospective currently touring in the U.S., they’re both shown on 35mm, which obscures some of the visual differences.)
As for HIERONYMOUS BOSCH’S “THE GARDEN OF EARTHLY DELIGHTS”, this shows Picq again, in a different living room, describing and discussing Bosch’s famous triptych (see photo below), mainly the middle panel, to a group of young people, again mainly women, who again add a few comments of their own. The main emphasis here is on various body orifices.
An obsessive-compulsive filmmaker and clearly a tormented one who wound up dying by his own hand, Eustache was clearly experimenting with his variations as well as goading viewers into examining their own reactions to them. The monologue in both versions of UNE SALE HISTOIRE evokes many of the interminable monologues of Jean-Pierre Léaud in THE MOTHER AND THE WHORE (1973), all of which were reportedly real-life monologues that Eustache delivered to friends or lovers and then transcribed shortly afterwards.

In the French countryside it's the day for peasants to kill a big fat pig. The slaughter goes on for a great part of the day as they work to store 140kg worth of meat.