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.　　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.

• 全60集

  双面佳人

  吴静一

• 第2集

  午夜屋台

  神山智洋,中村海人,石田光,竹中直人,刚力彩芽,津田宽治,铃木庆一,黑谷友香,波冈一喜

• HD中字

  奥赛罗2023

  科斯蒂·J·库蒂斯,塔尼娅·弗兰克斯,保罗·希尔顿,罗西·麦克尤恩,吉尔斯·特雷拉

• HD中字

  莱利

  Jake Holley,Colin McCalla,Riley Quinn Scott,Connor Storrie,里比·希利斯,J.B. Waterman,René Ashton,Marcus Winchester-Jones,Nigel Siwabessy,Dallas Perry,Alyssa Latson,Caroline Amiguet,Miranda Guiles,Hunter Linton,Jose Rico,赛迪·司各特,Luca Vega,卡莱蒂·威廉姆斯

• HD中字

  人人都爱杜达

  尼斯林·艾拉丁,Joud Chamihy,Jalila Talemsi,Lahc

• HD中字

  i人质危机

  马德奥·范·德·格里恩,露丝·哈弗科特,Thijs Boermans,路易·塔拉普,马塞尔·亨瑟玛,Admir Sehovic,Roosmarijn van der Hoek,福克琳·欧沃凯尔克,Soufiane Moussouli,Emmanuel Ohene Boafo,Ahlaam Teghadouini,Eric Corton,Jolanda van den Berg

• HD中字

  断了气

  哈维尔·格拉杰达,理查·基尔,吴汉章,布鲁斯·维莱什,范蕾丽尔·卡帕里斯基,Waldemar·Kalinowski,Brien·Varady,阿特·梅特拉诺,丽莎·简·波斯基,亨利·G.桑德斯,约翰·P.瑞安,Georg·Olden,Miguel·Pinero,欧仁·卢里耶,Martin·Erlichman

• HD国语|HD粤语

  门徒2007

  刘德华,吴彦祖,古天乐,张静初,袁咏仪,廖启智,何美钿,尔冬升

• HD中字

  一切终将结束

  Zivko Anocic,Jelena Đokić,Boris Isaković

• HD中字

  工作细胞 真人版

  永野芽郁,佐藤健,芦田爱菜,阿部隆史,山本耕史,仲里依纱,松本若菜,マイカ・ピュ,染谷将太,深田恭子,板垣李光人,加藤谅,加藤清史郎,片冈爱之助,新纳慎也,小泽真珠,深濑慧

• HD中字

  泛美73号劫机事件

  Ali Afzal,Altaf Ali,Malek Alkoni,Nathan Altai,Yasmin Kaur Barn,Gabriel Fernandes,Tom Fyans,Karendip Phull

• 正片

  豪门新娘

  秋庄,矫明俊,红云,梁氏梅琼,黄苑恩,黄氏·塞缪尔·安