视频简介
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.。苏雷曼从巴勒斯坦逃离，渴望前往新的家园生活，却意识到自己的故土如影随形。对新生活的期待很快沦为一个荒谬的笑话：从巴黎到纽约，不管他走到哪里，总有些地方让他想起祖国。在这一部关于探索身份、国籍和归属感的喜剧故事里，苏雷曼提出了一个本质性的问题：我们能够真正称之为家的地方到底在哪儿？。When Star returns to her home dimension, she discovers that magic is disappearing throughout the kingdom. Star must dig deep and challenge her arch nemesis Ludo in an effort to save her family and kingdom.。
