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.。在残酷的美人鱼战争之后，分裂但曾经伟大的伊利亚特城被黑暗势力包围。被臭名昭著的地精猎人分散了注意力。 一个手上有仇杀的致命杀手，负责维持和平的守护者对诡计多端的地下城市行会视而不见，结果令人恐惧，因为亡灵开始崛起。 在这座充满恶意和腐败的城市里，死神本人被迫结成伙伴关系，把事情掌握在自己手中，给在海上最后一次袭击中丧生的精英战士阿提克斯一个回到生者之地的机会。但是这份礼物不是没有代价的…。
