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.。

作过一次临时演员后，小康(kāng )（李康生）罹患歪脖(😴)子的怪病，父(fù )亲（苗天）带其四处求医。

其中两人在1917-1918年死于流(liú(❗) )感病毒，而他们在前一个星期才接(jiē )受了教皇的洗礼。

他(💩)们在沿途经过的小镇大秀妖冶，得到了不少惊愕的目光(🍦)，当然(rán )也(🍂)有赞许。

不久两人的孩子出生了(le )，大民也更加忙起来了。

不(🏙)过缺乏经验的她，忽(hū )视了极地探险家们对于北极凛冬(🤛)的(de )警告。

她闻讯逃出，在河边等到木排，与石牯团(tuán )聚。

そんな折に朝(🥫)顔のもとへ、同(tóng )時にひき逃げされたとみられる男(👒)(nán )女の遺体解剖依頼が舞い込み、この出会いが彼(bǐ(🤥) )女の人生(🦎)に大きな影響を与えていく。

木排漂流到双河街，盘老五(🎹)为了急救生命垂(chuí )危的徐区长，要去买人参，但偏偏(piān )钱(🎫)又不够。

罗贝托兄弟则与玛丽的意见恰恰相左，但阴差阳(🤤)错之间罗(🛰)贝托与玛丽亚(yà )竟然陷入爱河。