The subtitle of Jean-Marie Straub and Daniè(🏔)le 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.。

凭借着康康舞，亨利的夜(yè )总会再度红火了起(🍷)来，然而(🤥)劳拉和(hé )妮妮之间日积月累的矛盾却在开业的那一天彻底(dǐ )爆(🛃)发。

小康(🌸)是年轻的同性恋者，可(kě )是却并不清楚自己期望从同性处获得怎样一种(🚣)安(ān )慰，父母的貌合神离不但令他对男(nán )女关系失掉信心，对同性关系的(🌥)理解也盲从地认(rèn )为只是两具肉体的短暂吸引、结合(hé )。

水帆的青梅竹(🔆)马龟田(📇)兔吉（古馆宽治 饰）在一间伪装成商务酒店的爱情旅馆里担(dā(🍐)n )任经理(💳)，他的侄子孝史（太贺 饰）则在店里打工。

而何继东的母亲却托朋友给他(🦓)找(zhǎo )了一份建筑工地的工作。

中国共产(chǎn )党为了挽救革命，于8月7日在汉口(🌊)召开紧急会议，确定了土地革命和武装反抗国民党(dǎng )反动派的总方针。