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.　　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.

• HD中字

  逃离人间

  马里奥·卡萨斯,安娜·卡斯蒂罗,何塞·加西亚,吉列尔莫·托莱多,乔瑟普·马利亚·波乌,布兰卡·波蒂略,何塞·萨克里斯坦,胡安霍·普伊科维,阿尔伯特·普拉

• HD中字

  狼族之中

  Louise Bourke,艾丹·吉伦,Luke McQuillan,Daniel Fee,Helen Behan,Jade Jordan,戴恩·怀特·奥哈拉,本·康德伦

• HD

  猪八戒外传

  秦梦,葛小宝,江青,王凡

• HD

  浴室迷雾

  范晓波,曹向东,王霙,赵桐光,马晓峰,蓝振波,黄玉萍,姚建华

• HD

  雨夜中的豺狼

  刘安古,王德顺,王国京,范小波,战车,童建民,张晓青,吴慈华,牛星波

• HD

  桃色将军

  魏慧丽,曹毅,姜玉玲,郭柏松,虞桂春,徐晓光,龚彤周,张琴生

• HD

  桃花三娘子

  林凤娇,陈鸿烈,唐家拳,邬裕康,崔福生,曹健,张英颀,周少卿,孟莉

• HD

  狮子山下：烟火人间

  蔡刚,张敏,陈立品,古国华,罗慧娟

• HD

  洛神传

  吕秀菱,张佩华,云中岳,白鹰,仇政

• HD

  官贼妓

  哈小姚,刘莉莉,董志远,王喜元,薛腾

• HD

  白居易琵琶行

  内详

• HD

  歌迷小姐

  邓丽君,张冲,青山,凌云