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.。

一个往常的日子里，医生(shēng )像平常一样打开了他办公室的门，很快他发现了一丝不妥……一低头(tóu )，医生竟然在他办公室里发现了尸(shī )体！在仔细观察了死者的脸之后，倒霉的医生很快意(🎷)识(🚀)到(❌)，自(🌇)己(🛰)这(🚄)次(🧝)遇上了(le )大事件——死者是他曾医治过的病(bìng )人，而这个病人是一个社会名流。

终于，不堪重负的桃湖蓝藻爆发，引起了全市几百万人的水危机。

单(dān )身父亲泰瑞·伯纳德（约什·卢卡(kǎ )斯 Josh Lucas 饰）独自抚养可爱的女儿安吉拉(lā )（Beatrice Miller 饰），他爱恋着女儿的主治医师伊丽莎白（琳娜·海蒂 Lena Headey 饰(🈸)）(🧠)，一(🏀)切(🎵)似(🧟)乎(📑)朝着美好的方向发展，但是接连不断(duàn )的幻影让他充满焦虑。

一个往常的(de )日子里，医生像平常一样打开了他(tā )办公室的门，很快他发现了一丝不(bú )妥……一低头，医生竟然在他办公(gōng )室里发现了尸体！在仔细观察了死(sǐ )者的脸之后，倒霉的医生很快意识到，自己这次遇上了大事件——死(🐦)者(♐)是(🍶)他(🎣)曾(😺)医(🥢)治过的病人，而这个病人是一(yī )个社会名流。

本片荣获——1982年日本(běn )电影学会奖最佳导演、最佳摄影；1982年日本蓝丝带奖最佳电影、最佳摄(shè )影；1982年日本映画大赏最佳导演、最(zuì )佳电影、最佳男演员；1983年夏威夷国(guó )际电影节最佳剧情片；1981年莫斯科国际电影节银质奖；1982年奥斯卡(📈)最(➕)佳(🍗)外(🕯)语(🍁)片(👩)提名；《电影旬报》年度十佳第1名，八十年代十佳第2名，影史百大第13名(míng )。

Michael Powell teamed with actor James Mason (who also co-produced) to make a film loosely based on the life of controversial Australian artist Norman Lindsay. Age Of Consent stars Mason as a jaded painter who heads Down Under looking for a way to revitalize his creative soul. His self-imposed exile is interrupted by Cora, an uninhibited young woman on her own journey of self-discovery. The Age of Consent (1969), is Powell's final film, centers on James Mason as a disenchanted painter who finds a new muse in a tropical island model (a radiant and sensual, often nude Helen Mirren, in her first movie role).。