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.。

夜晚，木排停靠在荒野，石牯上岸去找他(tā )那被区革委会主任李家栋逼迫出嫁(jià )的未婚妻改秀，遇到了被监督劳动(dòng )、已经奄奄一息的(🎋)老(📵)区(🤐)长(🙎)陈(🍫)鸣(⏸)鹤(🖥)，赶来寻找石牯的盘老五毅然决定，把老区长转移到一个安全的地方。

她在历经艰险后终于到了丈夫的北极大本(běn )营，并试图在营地过冬。

电影聚焦(jiāo )了两个女人在荒寥北极的孤寂，但(dàn )在黑暗与幽闭之时，她们的互助才(cái )是存活的关键。

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.。

水帆的青梅竹(zhú )马龟(😖)田(🐓)兔(💉)吉(🎋)（(♉)古(🥣)馆宽治 饰）在一间(jiān )伪装成商务酒店的爱情旅馆里担任经理，他的侄子孝史（太贺 饰）则在店里(lǐ )打工。

Sam, journaliste indépendant, profite de sa culture musulmane pour infiltrer les milieux intégristes de la banlieue parisienne. Il se rapproche d’un groupe de quatre jeunes qui ont reçu pour mission de créer une cellule djihadiste et semer le chaos au cœur de Paris.。