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.。

为了对起义的死者表示(shì )悼念(Ⓜ)，他们和同班同学(♒)们决定，一(yī )起在课堂上无视老师，突发沉默一(☝)(yī )分钟。

凭借着康康舞，亨利的夜总(zǒng )会再度红火了起来，然而劳(⛏)拉和妮(nī )妮之间日积月累的矛盾却在开业的那一天彻底爆发(🏙)。

\r男人似乎可以重新开始生活，却意外牵涉进一(🤱)桩银行劫案(àn )。

而(🥛)作为被丈夫（同时代男人）与(yǔ )儿子（更年(🦖)轻的男人）同时冷落的(de )母亲（陆筱琳），则只能默默忍受(shòu )肉(🍕)体与精神的双重饥渴与孤独。

一(yī )个精明的治安员把废弃的集(💱)装箱出(chū )租给流浪人士作为居所，收取租金，男人也住了进去。

随(🥨)着受害者母亲（内(nèi )瑞雅·巴德洛斯 Nerea Barros 饰）提(🆗)供的关键线(xiàn )索(🎹)，案件更加地扑朔迷离，而在调(diào )查过程中帕德(🛬)罗也发现了胡安不为(wéi )人知的过去，更让人不安的是社会(huì )的(😻)腐败，以及小镇人民的贫穷与冷(lěng )漠，两人都面对着极大的挑战(⏯)。

经过一些列的分析推理探访之后，终于真相大(🕋)白。