视频简介
女子安宁，丈夫早逝，带着女儿独自居住。有一天夜晚，家中停电，一名带着面具的男子侵入房间，欲非礼安宁，安宁拼死反抗，面具男子惊慌逃窜，却在过程中将点燃的蜡烛推倒，导致失火，安宁的女儿不幸丧生火海，失去孩子的安宁悲痛欲绝，由于线索缺失，凶手未能抓捕归案。安宁的闺蜜赵敏在得知她遭遇了不幸之后，便邀请安宁到自己家中小住一段时间，希望帮助她排遣忧伤痛苦。令人意想不到的是，随着安宁的到来，原本安静和谐的家庭变得异常诡异……。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.。
