没有和解
恨难解 / Not Reconciled / Not Reconciled or Only Violence Helps Where Violence Rules
影片信息
- 状态：HD
- 主演：Heinrich Hargesheimer/Carlheinz Hargesheimer/Martha Staendner/达尼埃尔·于伊耶/Henning Harmssen/Ulrich Hopmann/Joachim Weiler/Eva-Maria Bold/Hiltraud Wegener/Ulrich von Thüna/Ernst Kutzinski/Karl Bodenschatz/Heiner Braun/Georg Zander/Lutz Grubnau/若阿内斯·巴尔斯基/保罗·埃塞尔/
- 导演：让-马里·斯特劳布/达尼埃尔·于伊耶/
- 年份：1965
- 地区：其它
- 类型：剧情/剧情片/
- 时长：内详
- 上映：1965-07-04
- 语言：其它
- 豆瓣：没有和解
- 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.
- 9
-
关注公众号观影不迷路
-
扫一扫用手机访问
7.4
网友评分
豆7.4
0次评分
扫一扫用手机访问
下载列表
倒序
全选迅雷批量下载
没有安装迅雷？点击这里下载最新版迅雷 >
下载帮助：tip提示信息
剧情简介
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.
为你推荐
换一换最新资讯
更多-
组图：第九届丝绸之路电影节开幕红毯 张丹峰洪欣亮相白宇帆主持明星娱乐2023年01月01日
-
组图：第九届丝绸之路电影节开幕红毯 张丹峰洪欣甜蜜挽手亮相明星娱乐2023年01月01日
-
2023元旦节票房破亿 《阿凡达2》《想见你》领跑明星娱乐2023年01月01日
-
暗恋很久!粉丝解读李钟硕称IU是姜檀伊一样的存在新闻资讯2023年01月01日
-
《外来媳妇本地郎》康伯扮演者龚锦堂去世新闻资讯2023年01月01日