视频简介
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.。停职后的方见涛不甘寂寞，暗中到副市长张清的支持，同时迫使屈辚与之合作，将手中的烂尾楼成功脱手，并获得高速公路项目的开发权，以此套取大量贷款。屈辚升任国税局长，位尊权重，在洋洋得意的同时也在腐败的漩涡中越陷越深。何盈秋眼见屈辚走向毁灭，而自己却无能为力，悲伤中选择了逃避，远走异国。 面对方见涛的穷追不舍，吴唤云倍感压力。为了解除威胁，他对方见涛频施暗算，阴谋层出不穷，使方见涛和江盛灵的调查工作屡屡磁带却已被清洗。为了引出幕后黑手，方见涛扣下证据没有上交，顶着挨处分的危险，以索贿的名义与远拓高层联系。由于检察院内部走漏消息，吴唤云没有中计，他却因此被江盛灵误解。 屈辚发现吴唤云在利用自己，面上不露声色，暗中却对远拓的各项计划进行阻挠。进入高层后，他渐渐变得飞扬跋扈，对金钱腐蚀的抵御能力也越来越弱。何盈秋不能接受他的转变，两人勉强结合，婚后经常发生争执。方...。
