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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.。个性开朗心底单纯的喜屋武七叶（与那岭里都 配音）、沉着冷静不失温柔但生气起来会非常恐怖的喜屋武七绪（松田瑠华 配音）和拥有着极强灵感应能力的喜屋武心七是感情十分要好的三姐妹，三人同奶奶一起过着相依为命的生活。 一次偶然中，七夜发现了一个神奇的瓶子，并且在误打误撞之中将瓶子打开，外表稚嫩可爱嘴巴却超级毒舌的妮娜（松嵜丽 配音）、大大咧咧傻乎乎却惹人怜爱的拉娜（井之上奈奈 配音）和沉默寡言面无表情的卡娜（东城日沙子 配音）三个被封印已久的精灵出现了。就这样，喜屋武家多了三名家庭成员，平静的日常生活也离三姐妹越来越远。©豆瓣。