一个介于分租房和黑(💺)社会之间的环境(🈲)，妓院是艺术家的工作室，纳粹在街上大肆辱骂，巴贝尔(🦔)(ěr )斯堡则梦想着(➕)制作心理电影。

到了那一天，事情却进行得并(bìng )不顺利，奥迪尔一而再地(🎈)要求(qiú )他们取消行动，但是阿瑟表示(shì )明天再来，甚至动手打了奥迪(dí(🤕) )尔。

高考失利的朔子（二阶堂富美 饰）在落寞中迎来了炎热的暑假。

他(➡)的女儿玛丽亚则(⏲)是生命维护主义者，她一直在艾伦娜就诊的医(yī )院前(🚆)进行抗议。

战争结(🎷)束之后(hòu )，路易回到了珍娜身边，大度(dù )的他原谅的珍娜的出轨，并和(hé(📇) )她一同搬往了远离是非之地，企图重新回归平静的生活。

烦(fán )恼、苦闷(🍈)与不平缠绕着他(🏵)们，无法解脱，只好无聊地吵嘴，发泄地殴斗，苦闷地酗酒(💅)。

马提亚斯·修奈(🧤)尔茨饰演的德国军官住进了法(fǎ )国乡下的一户人家，与米歇尔(ěr )·威(🎓)廉姆斯饰演的女主人产生(shēng )了感情，然而两人的爱情却遭(zāo )受战争和(⤴)家人的阻隔、反对。

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.。