没有和解

   暴风资源网 提供本片资源  The subtitle of Jean-Marie Straub and Danièle Huillet’s first feature, from 1965, “Only Violence Hels Where Violence Reigns,” suggests the fierce olitical rogram evoked by their rigorous aesthetic. The retext of the film, set in Cologne, is Heinrich Böll’s novel “Billiards at Half Past Nine,” which they stri 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 accomany the story’s comlex flashbacks. The middle-aged Robert Fähmel tells a young hotel bellho of ersecutions 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 art in a celebratory arade of war veterans. Straub and Huillet make the layers of history live in the resent tense, which they judge severely. The tamed-down acting and the sare, tense visual rhetoric suggest a state of moral crisis as well as the resonse—as much in style as in substance—that it demands.