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.展开
5.0
Michael Flores Nicki Valastro 乔恩·普劳德斯塔尔 Alice Ritz Karen Aruj Brandon Dale Hunt Da'quann Leonard Laura Stisser Ann Sweet Jon Turner 比尔·史密斯 Matthew Terry 尤金·G·斯威斯·托马斯 Jesse Wakeman
5.0
博·布里奇斯 杰西卡·帕克·肯尼迪 布鲁斯·戴维森 Miguel Gabriel Scotty Tovar 罗斯·帕特里奇 豪尔赫·路易斯·帕洛 Ayinde Howell Bob Bledsoe Ezekiel Bridges 康尼·杰克逊 David Katich Andrea Salloum Tanner Swagger Kitty Swink Jonathan Tanigaki Rachel Winfree
6.0
朱恩·斯奎布 艾琳·凯利曼 杰西卡·赫特 切瓦特·埃加福 科尔·特里斯坦·墨菲 韦尔·普莱斯 Michael Everett Johnson 莉亚·兰朵 Greg Kaston 斯万米·萨姆派奥 斯蒂芬·辛格 Rita Zohar Luis Castro de Leon 科尔·拉格斯代尔 Marcha Kia 詹娜·克雷 Jacob Flekier Zach Fike Hodges Kathryn Mayer