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.。描绘了身为检察官，但到晚上就戴上面具维护正义的现代版英雄的故事。。生きるって、簡単じゃない。 目が覚めると、ハルヒロは暗闇の中にいた。 ここがどこなのか、なぜここにいるのか、そしてどこから来たのかもわからないまま。 周りには自分と同じ境遇らしき数名の男女。 彼らとともに暗闇から踏み出した先には見たことのない世界、 「グリムガル」が広がっていた……。 記憶も、お金も、特別な力も――、何もない僕たちが手に入れた現実。。
