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.。故事以国际死亡学家梅里耶（朱莉·勒布雷东 Julie LeBreton 饰）为中心，她回到家乡为母亲的遗体进行防腐处理，同时也成为她与家人团聚的契机。通过角色之间轻松和痛苦混杂的交流，电影揭示了梅里耶幼年时的一段特殊经历。在剧中，观众了解到梅里耶小时候喜欢在夜晚乱跑到别人家中，去偷看人们入睡的场景。这种行为可能反映了她对死亡和生命的好奇，也预示着她未来成为一名国际死亡学家的兴趣和职业选择。 然而，故事的转折点出现在她潜入劳里尔（皮耶-加百列·拉卓 Pier-Gabriel Lajoie 饰）的家中的那个夜晚。在那里，梅里耶目睹了一场意外事件，这一事件将她的生活推入了谎言和罪恶的深渊。观众通过这个故事，将逐渐了解梅里耶的内心世界和她与家庭、死亡、以及自己过去之间的纠葛。。
