11 年前
搜影视
議員酒後駕車，撞了開計程車的偷車賊。 計程車上的女乘客在這場車禍認出了酒駕者是名政客，並識破了政客身旁的助理為第三者，她起了貪念，決定與偷車賊一起向議員索求500萬的『封口費』。 在取款的過程裡，卻驚爆了女乘客與議員妻子之間的醫療糾紛，同時也抖出了包商與政商勾搭的弊案，弊案裡卻也牽連到偷車賊與女助理過去的家庭。 為什麼包商會出現在車禍當中的後車廂裡？是謀殺？綁架？還是另有隱情？議員與些這弊案是否有關連？。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.。