宋代足球小将第二季

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.。一个女人来到小丑先生的店铺买“故事”。小丑对于女人随身携带的老相机充满警惕，而他交易的方式是故事换故事。女人讲述了一个关于“密码”的故事，从小丑手中换得了一瓶能够“治疗世界”的药丸。当女人想要离去的时候，小丑却露出了狰狞的面容……。