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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.。“独立制表师”是指独立于钟表制作公司，基于自己的理念创造钟表艺术作品的手表工匠。在这些钟表匠中，菊野正弘由于特殊的工作受到关注，他的工作凸显了日本传统文化。现在，菊野的目标是将一个终极计时器嵌入手表。这个终极计时器基于日本工匠大师在1851年制作的“和时计时钟”而设计，将日出和日落间的时间分为六等份。由于白天的长度随着季节变化，时间的长度也随着季节的变化而变化。复杂精致的自动时钟由1000多个部件组成。本片讲述了菊野将这套系统嵌入手表中这一不可思议的创作。。