选集列表
剧情简介
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.
观众心声
关于战后德国犹存的纳粹阴魂；台词，或者说台词的“说法”是串联起破碎时间线的指示，是需要追逐的兔子；固定镜头与镜头内的推拉暗示情感关联。
德语英字跑得好快 不住暂停做阅读理解；对剪辑构筑电影织体的概念多了一点点体会
堪称新浪潮与德国电影的终结者，新浪潮在这片面前只显得幼稚甚至可笑了。
55分钟？
没有看懂但大受震撼 待重新捋结构..