视频简介
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.。故事开始于一间寻常的绑架事件。美丽的Jessie与她有虐待狂的弟弟Alan，还有Eddy，绑架了刚放学的16岁女孩Candy，把她拉到一座小山坡并埋在地下，接下来该做的事是向Candy的继父Avery——一位钻石商人索要赎金。但剧情在这里发生里逆转，有两件事是三名绑匪预料不到的。第一件是，Avery并不关心Candy的死活，得知女儿被绑架后仍然与情妇约会，对于他来说，如果女儿不幸遇难，他将得到上百万美元的保险赔偿，杀了Candy反而是帮了他，虽然Jessie通过关系买了一只从尸体上切下的耳朵做要挟，但仍无法威胁Avery。第二件出乎意料的事情是，在埋Candy的时候，一切都被藏匿在路边草丛里的才几岁大的小男孩Sean看到了，但是他却是一个失声的儿童，谁会相信他呢？。东特（纳瓦·君拉纳拉 Nawat Kulrattanarak 饰）表面看来拥有旁人羡慕的完美生活，妻子丽塔（拼塔安·阿孔萨妮 Piyada Akaraseni 饰）美丽贤惠，8岁的女儿乖巧懂事。可实际上，丽塔和自己婆婆的关系已经恶化到了无以复加的地步，在这个节骨眼上，东特邂逅了名叫明德（安嘉莎·蒙坤莎麦 Anchasa Mongkhonsamai 饰）的女子，东特在她的身上感受到了致命的吸引力。 在又一次婆媳战争的间隙，东特得到了前往明德家中共进晚餐的机会，在酒精的催化之下，东特和明德越过了道德的界限，走到了一起。刚开始，明德告诉东特，自己什么都不要，只要东特能够陪在自己的身边，但随着时间的推移，明德的要求越来越多，东特开始感到力不从心。。
