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.。

出色的企(qǐ )业举报人打算扳倒一家秘密从事(👵)不法活动的(🌟)公司，但这个计(jì )划也让他身陷险境 — 因为有人雇佣了一名冷(lě(👢)ng )血杀手来除掉他(tā )。

物理学家汤川学(福山雅治饰)从美国回到日(rì(🛑) )本，女警内海(⬇)薰(xūn )(柴崎幸饰)向他寻求帮助。

就在此时王芳也告(gào )诉了何继东一(🐯)个埋藏在心(🔇)里多年一直没有说出的秘密，这个(gè )秘密让何继东感到震惊，也彻(📹)底再次改变了何继东的命运。

她采取了夜班和情况颠倒过来，当一系列奇(qí )怪(🖤)的事件造成的(de )尸体之一储存在太平间。

他对柯内莉亚的爱(ài )是唯(🦍)一让他质疑(📑)自己讽刺宿命论的东西。

该片根据真实事件(jiàn )改编，讲述在葡萄牙(🐄)法蒂玛，三个(🌀)孩子声称目睹了圣母玛利(lì )亚显灵，并预言了灾难即将来临。

只要(👺)还有工作，拥有德国(guó )研究博士学位的雅各布·法比安白天写广告(gào )文案，晚(🐍)上就和(hé )斯蒂芬·拉布德一起频繁出入城市中比较荒(huāng )诞的场(👊)所。