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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.。李南和儿子李安在工地搬砖为工，李安到了快结婚的年纪，李南不满儿子自己谈的女友，便拜托媒婆给儿子说媒，自己先提前来餐厅替儿子相亲，但是没想到同为相亲的齐云雪认错了人，以为李南就是自己的相亲对象。当圣诞老人陷入中年危机决定给自己放假时，向来包容（且无奈）的妻子玛格丽特不得不硬核上岗，拯救这场濒临崩溃的年度盛会。。