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.。

在那颗残存着前一个主人(Ⓜ)记忆的心脏(zāng )的(de )驱(qū )使下，泰瑞尝试着去寻找(🍢)幕后的一切，却也将自己卷入巨大的漩涡之中……。

战争结束之后，路易回到了珍(🎑)娜身边，大度的他原谅的珍娜(nà )的(de )出(chū )轨，并和(🏘)她一同搬往了远离是非之地，企图重新回归平(🥔)静的生活。

一位长期生活在雪砌圆(🏺)顶小屋内的因纽特人Allaka深知北极冬天的寒冷，留(🍋)(liú )了(le )下(xià )来陪伴约瑟芬。

一名参议员纠结于自(🦗)己是否要为一项不赞同的法律投赞成票，他的良心和他对于自己党派的忠诚让(🐾)他深陷矛盾之中。

当这(zhè )个(gè )男(nán )人回小镇里(🎒)时，他又出现在了女孩家人面前，向他们挑衅。

凭(👛)借着康康舞，亨利的夜总会再度红(🧤)火了起来，然而劳拉和妮妮之间日积月(yuè )累(lè(🔟)i )的(de )矛(máo )盾却在开业的那一天彻底爆发。

本片以(🖥)花园集村的一名村干部张来旺开(😫)展农村现代远程教育的故事为主线，全方位、(🌻)多层面、立体式展(zhǎn )示(shì )了(le )远程教育由群众(📘)不接受到离不开的演变过程……。

何继东原来(⛲)的单位也因何继东有盗窃案底而(🥤)拒绝了何继东工作。

法兰基（杰克•麦克艾(à(🔒)i )尔(ěr ) 饰(shì )）随母亲莉兹（艾米莉•莫迪默 饰(🍁)）与外婆搬到了苏格兰。