视频简介
Hamdi Atilbay 在森林中惨遭谋杀，这起案件将两个阳生人系到了一起。 年轻的检察官 Leyla 想要抛开复杂的过去，重整旗鼓。而Kenan 是一位雄心勃勃的记者，生活井然有序，是一个知名人物。然而，这起谋杀案不仅预示着他们的爱情，也预示着他们习以为常的人生真相的毁灭。这两个野心勃勃的人物并没有意识到，他们正陷入在利益冲突中拼命想要对方的漩涡。 Kenan 对这位美丽而坚定的检察官一见倾心。然而，Lcyla对 Kenan 持怀疑态度，Kenan为了自己的事业，隐瞒了他所知道的事情。 Leyla 感到自己有一种说不出的异样感，当见到 Kenan 眼底的陌生人时，很多事情都会说得通。 这起谋杀案吸引Kenan 的，并不只是其新闻价值。Kenan 发现自己无法远离这位不时碰到的检察官，他努力接近Leyla。而 Leyla也有同样的感觉，尽管多种原...。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.。
