一个(gè )往常的日子里，医生像平常一样(👎)打开了他办公(🤟)室的门，很快他发现了一丝不妥……一低头，医生竟然在他办公室里发现了尸(shī )体！在仔细(🍣)(xì )观察了死者(❤)(zhě )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(🏒)是一个社(shè )会名流。

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.。

An insane man first loves then grows to hate his neighbor, an old man whose penetrating gaze unnerves the insane man. He plans a perfect crime and executes it one night. The next day, two officers knock on the insane man's door, investigating a shriek heard in the night. The insane man invites them in, answers their questions, and submits to an examination of his eyes by one of the officers, who proclaims him innocent. The insane man invites them to stay and relax awhile, then regales them with his theories of crime. His heart begins to beat louder. Angles on the set are skewed to suggest the man's internal disarray.。

因为失忆，他无法拥有合理(🏈)的身份证明，无(🙆)法找到住处和工作。

他们的父亲是令人尊重的医生，尼古拉斯却(què )和他关系疏(shū )远。

在一个(🖼)英语学习班上(🚲)，法国姑娘奥迪尔认识了两名男子阿瑟和弗朗茨，他们是两个着迷于美式文化的年轻人(ré(✡)n )，向往着惊(jīng )险(🗿)的传奇故(gù )事奥迪尔很快就被风流的阿瑟吸引，渐渐地爱上他，他们三人开(🍥)始常常混在一(🐦)起，坐在敞篷跑车里兜风。

他的朋友-后来承认(rèn )自己在生活(huó )和职业的课(kè )题上失败了-在(🚦)谈到共产主义(🥟)和性的时候，是个有进取心的人，而法比安却依然清醒而疏离。

他偶然得知心脏捐助(zhù )者名(❗)叫让•维艾亚(🕐)德，是一个55岁因(yīn )头部重伤死亡的老者。

石牯和改秀这对年轻人的遭遇，不禁(🐡)勾起了盘老五(😼)对自己年轻时(🥐)爱情悲剧的回忆：三十多(duō )年前，他与(yǔ )纯真的少女(nǚ )吴爱花有着一段甜(⏪)美的爱情。

不景(🖱)气的经济和亨利的不善经营很快就让夜总会来到了濒临破产的边缘，就在这个节骨眼上(🎖)，亨利认识了(le )平(🔩)凡的洗衣(yī )女工妮妮（弗朗索瓦·阿努尔 Françoise Arnoul 饰），在妮妮的身上，亨利看到了过人的天赋(🥠)，并且开创了“康(🌫)康舞”这一前所(suǒ )未有的舞蹈(dǎo )形式。