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 Fä(🙍)hmel 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.。

上世纪80年代初的西(👀)班牙正处于(yú )大变革之中，瓜达尔基维尔流(🚡)域的沼泽地上有一(yī )座偏远小镇，一件极其残忍的少女凶杀案就发生(🤹)于此。

虽然他已自称是法国人(rén )，但审判仍判(🌲)定他是来自葡萄牙，惩罚他为奴隶。

阿瑟和弗朗茨便(biàn )策划着要入(rù )屋(🙌)行窃，后来奥迪尔想要退缩，然而阿瑟他们坚(jiān )持要行动，并计划好了具(😷)体时(shí )间。

然而，正当两人的感情重新热烈燃(🌴)烧之时，战争的再度降临和情人的意外回归将这个家庭又一次推向了(🏬)风口浪尖。

自此，湘鄂西洪湖根据地，沔阳东南(💻)方又掀起革命斗争(zhēng )风暴(📎)，为湘鄂西洪(hóng )湖根据地革(gé )命斗争史写下(💶)了光辉的一页。

她从悉尼出发到艾(ài )丽斯斯普林斯，独自展开一场(chǎng )横(🔻)越澳洲的千里沙漠之行，最后抵达澳洲西海(🦓)岸(àn )，影片记述了这段旅程，演绎了一段动人心魄的传奇旅程、一曲跌(📎)宕起伏的沙(shā )漠恋歌。