电影聚焦了两个女人在荒寥北极(📥)的孤寂，但在黑暗与幽闭之时，她们的互助(👉)才是存活的关键。

而作为被丈夫（同时代男(ná(🧓)n )人(rén )）与(yǔ )儿子（更年轻的男人）同时(🐾)冷落的母亲（陆筱琳），则只能默默忍受(🈸)肉体与精神的双重饥渴与孤独。

一个介于分租房和黑社会之间的环(huán )境(jìng )，妓院是艺术(👬)家的工作室，纳粹在街上大肆辱骂，巴贝尔(⏬)斯堡则梦想着制作心理电影。

何继东在工(⏱)地上拼命工作却没有得到工地主管的认可(kě(🎄) )，一(yī )次工友的钱不见了，因为何继东有盗(💪)窃案底的缘故，所有怀疑的目光都投向何(🔛)继东……　　何继东再也承受不了别人对他(🔋)异样的目光和(hé )这(zhè )样(yàng )的冤屈，他准备(🛸)用跳楼的方式来结束自己的生命，幸亏王(⛹)芳及时发现。

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.。

不久两人的孩子出生了，大(dà )民(mín )也(yě )更加忙(🤳)起来了。