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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.小草影院韩国电影神马影院光棍影院星空影院宫锁连城好莱坞洗牌生物黑客第二季未来空港绝对控制2002孔子1991红楼梦1962生活脉动死神来了杰克茜一日夫妻百日恩校园兔女郎魔音盒华盛顿·布莱克沙村传奇欢乐5人组国语窒息家庭 第一季姬百合之塔我的傻瓜老婆偶像1993血月惊魂系列大片13天13夜眠山怪影反击第三季亡情朱古力旋风九日别再烦我保卫圣诞老人你的样子
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.小草影院韩国电影神马影院光棍影院星空影院宫锁连城好莱坞洗牌生物黑客第二季未来空港绝对控制2002孔子1991红楼梦1962生活脉动死神来了杰克茜一日夫妻百日恩校园兔女郎魔音盒华盛顿·布莱克沙村传奇欢乐5人组国语窒息家庭 第一季姬百合之塔我的傻瓜老婆偶像1993血月惊魂系列大片13天13夜眠山怪影反击第三季亡情朱古力旋风九日别再烦我保卫圣诞老人你的样子