一半海水一半火焰百度云

乔尔和雷吉斯是一对同父异母的兄弟，他们彼此并不了解，两个人唯一的共同点是有同一个父亲。 乔尔是个黑人，他处于失业中，学历也不高。他认为法国是一个有种族歧视的国家，并且把找工作失败、穷到连公交车票都买不起的责任全都推给自己的黑人血统。 雷吉斯则完全和乔尔相反，正因如此，他并不承认自己身上有一半黑人血统，更不承认自己起源于非洲裔。 乔尔和雷吉斯的父亲病逝，他在临死前交给两兄弟一份文件，这是一份从奴隶制时期，他们的奴隶祖先流传下来的文件，文件中写到：奴隶制度已经解放，从此以后，这个家族的后人都能获得完整的人身自由。 乔尔和雷吉斯都想独占它，为此，两兄弟决裂了。此时，一位神秘的灵异老妇人正在暗中观察着他们的一举一动，当她目睹了两兄弟恶劣的所作所为之后，决定出手教训他们一下。她要把乔尔和雷吉斯送回到奴隶时期，让他们尝一下黑人被奴役的滋味。 乔尔和雷吉斯还没搞清楚发生了什么事，就发现两个人莫名其妙降落在了1780年的奴隶市场中，而且他们都被挂上了“出售”的牌子。这对兄弟要想摆脱种植园的奴隶生涯，想办法回到21世纪的家，就必须在这个陌生的时代团结起来……。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.。