观看记录清空
    • 视频
    • 资讯
    正在加载...

    如有无法播放请切换视频解析接口

    权限验证通过

    提示:购买VIP会员组,享受超级权限,谢谢支持。

    • 播放列表
    • 【勿信视频中任何广告!!!】
    • 报错


    7.0已完结

    没有和解

    查看详情

    扫描二维码手机看大片

    当前网页二维码

      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.

    相关热播

    RSS订阅 - 百度蜘蛛 - 谷歌地图 - 神马爬虫 - 搜狗蜘蛛 - 奇虎地图 - 必应爬虫

    本网站内容均收集于互联网,【西瓜影视】不承担任何由于内容的合法性及健康性所引起的争议和法律责任。欢迎大家对网站内容侵犯版权等不合法和不健康行为进行监督和举报。
    版权投诉邮箱:123456@gmail.com

    © 2024 www.00v0.com Theme by 西瓜影视

    {/if}