2 年前
搜影视
一场只是“接案偷东西”的任务，意外救下遭追杀的神秘少女。他们从此卷入社会上层的腐败与阴谋，踏上危机四伏的亡命冒险。世界，远比你想像得还要丑陋……。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.。一生沉默如大多数人般的外婆（闫妮饰），突然不告而别、离家消失，游走于城市各地，变得不再沉默，变得特立独行，宛如城市游侠，利刃般刺入无数人的生活，揭开一个个难定黑白善恶的人生，一边改变着自己，一边也改变了许多人——包括外婆的姐姐（闫妮饰）、女儿（张瑶饰）、外孙女（邓恩熙饰）的人生……。
