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 Fä(🤯)hmel 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.。

那一个夏天，这样的两个陌生人相遇相识，感情在他们的(🚋)主仆关系中发芽，然而盛放的，却是灵魂与灵(líng )魂之间的尊重和(🔊)爱。

此时远在某临(lín )海小镇的一位没有血缘的阿姨水帆(fān )（渡(🚌)边真起子 饰）即将赴荷兰旅行(háng )，水帆的亲生(🚿)妹妹海希江（鹤(🤫)田真(zhēn )由 饰）约上朔子来到小镇，帮助这(zhè )位(🔼)阿姨照看房子。

他们在沿途经过的小镇大秀妖冶，得到了不少惊(🍉)愕的目光(guāng )，当然也有赞许。

他们在沿途经过(guò )的小镇大秀妖冶(🥔)，得到了不少惊愕(è )的目光，当然也有赞许。

梅根(🏌)·里(lǐ )德，前警察(🍧)，戒酒康复中心的酒鬼(guǐ )。