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.。西班牙某个经受战争洗礼的村子来了三个神父，要求村长把被战火烧毁的修道院赐予他们，准许他们重建。经过村中人的努力，修道院重新修葺，并逐渐扩充为12名神父。12位神父在祭San Marcelino的那一天拾到一个生来即遭遗弃的婴儿，以为是神所赐，就取名为Marcelino。过了五年小Marcelino在12名神父的精心抚养下长成天使般可爱的男孩，他视神父们为12个父亲，但同时也非常想念听说已身在天国的母亲。 小Marcelino被带到镇上去玩，却闯了祸，于是神父们责罚他不准上阁楼，吓唬他说楼上有个会吃人的巨人。 一天好奇的小Marcelino鼓足勇气上到楼顶，没有看到巨人，却看到耶稣被钉在十字架上的雕像，觉得他似乎很冷很饿，于是拿来食物给他吃，带床单来为他驱寒，并和他讲话，问他是否也有妈妈，他是否爱妈妈，他的妈妈在哪里，耶稣像说他也有妈妈，妈妈在天堂。 ...。