这部冷峻的现实主义杰作堪称巴伐利亚的“公路默片”。除了开头那场拍得如同《2001太空漫游》般的华丽开枪镜头外，整部电影没有高潮，只有令人窒息的沉闷和餐桌上的明争暗斗。虽然剧本看似平淡，却通过演员细腻的肢体语言和眼神传递出巨大的情感力量。 影片对阿尔卑斯山壮丽自然风光的极致展现，将狩猎变成了某种宗教般的朝圣仪式。整部片几乎没有对白，纯粹靠节奏和冲突推动，张力拉得很满。它摒弃了传统线性叙事，全片几乎都在探讨真相与历史修正的哲学命题，风格冷峻而克制。

ynopsis from Time Out Film Guide Between the seemingly idyllic opening and closing scenes depicting a rural community, first at church, then at the village festival, Fleischmann attacks that community's prejudices and ignorance without remorse. His very precisely observed portrait of Bavarian life begins with little more than a display of the villagers' constant ribbing, bawdy humour, continuous gossip, and more than a hint of their slow-wittedness. With the return of a young man, their idle malice and childish clowning, always on the edge of unpleasantness, receive some focus quite without foundation, the lad is victimised as a homosexual. The crippling conformity of their ingrained conservatism leads the villagers to reject anything 'different' a young widow is ostracised, more for her crippled lover and idiot son than her morals; a teacher is frozen out because she's educated; the casual destruction of the young 'homosexual' is given no more thought than the cutting up of a pig. Not Germany in the '30s but the '70s; nevertheless the political parallels are clear. An impressive film.

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