视频简介
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.。刘敢和谢一民兴致勃勃地来到花腰傣之乡，还没有进村就与一群戏水的花腰少女遭遇一场尴尬。好客的白叔将二人请进家，邀请他们参加花街节。花街节上岩不顾爱慕他的安洒，去追求女孩依卡，依卡却暗暗喜欢刘敢。守寡多年的依卡妈也悄悄准备了情人饭，暗恋她多年的阿白叔在谢一民和依卡的怂恿下，终于鼓足勇气向她告白。最后他们都各自找到了自己的幸福。。