史莱克学院

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.。黑色电影氛围较重的西部片在科罗拉多州阿帕契郡的小镇上，神秘的威尔洛赫替镇上的商店运来意料之外的货物，之后他却留了下来，一直在暗中到处刺探。一次意外使他和当地大地主的儿子大卫维格曼交恶，这引起了当地诸势力的关注，纷纷视图拉拢他，同时镇上发生了一连串杀人事件，和威尔交恶的人不断被杀，威尔虽然受到怀疑却坚持留下来继续调查。。