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.。

大民到了适婚年龄都没有结婚，是(🔺)因为他一直喜欢邻居云芳。

终于，不堪重负的桃(🏹)湖(hú )蓝藻(zǎo )爆发(fā )，引(yǐn )起了(le )全市(shì )几百万人(🥁)的水危机。

男人找到自己的妻子，却不知如何在本来已经消逝的过去(🤖)和眼前的现实之间做出抉择。

木排漂流到双河(👠)街，盘老五为了急救生命垂危的徐区长，要去买(🗞)人参，但偏偏钱又不够。

他们一起经历的春夏秋(🍘)冬，令他们学习到底要怎样面对人生的(de )四季(jì(🔛) )。

随(suí )着案(àn )件的(de )深入(rù )，裴(péi )小海发现事情并(🎈)不像普通连环杀人案(🏪)那么简单，为了找到凶手，以龙骨伞为诱饵，与白(📆)子西合作，两个各怀鬼胎的宿敌，竟然在调查真(💲)相的过程中，渐渐爱上了彼此。

终于，某日，李堂得(🌯)到了一个上场比赛的机会，展现出了令人折服(💢)的技艺，然而，却有奸人(rén )从中(zhōng )作梗(gěng )，让(ràng )李(😛)堂(táng )的地(dì )位一跌再跌。

桃鑫化工厂董事长张秋江的父亲张清水觉(🤴)察到儿子的不法行为，开始明察暗访，调查企业(🍆)的排污情况，引起儿子的不满。