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.。一位单身母亲需要工作,一个滑雪度假村需要圣诞老人。泰勒假扮成圣诞老人,她能否骗过迷人的酒店继承人,拿到这份工作?。布宜诺斯艾利斯正遭遇热浪侵袭,一架直升机掠过一片被隔离的居民区,并向居民发出疏散警告。与此同时,当地经历着一系列微妙事件:快餐店的一名年轻人忽然以非自然的方式蜷缩成哺乳动物的姿势,屋子里毫无缘由地响起错误警报,陌生人时不时地在临近的林子里焚烧垃圾,一名裸体男子在收费站扑向一辆汽车……影片入围柏林电影节主竞赛单元并提名最佳处女作。(小易甫字幕组)。