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.。奥贝迪亚·拉扎鲁斯是犹大·拉扎鲁斯的儿子，原是哈努杀手。1983年，犹大恐吓纽约七个晚上，并准备在第八天晚上牺牲他八岁的儿子奥贝迪亚。犹大相信，神的旨意，像亚伯拉罕和以撒一样，要把他唯一的儿子牺牲给神。幸运的是，奥贝迪亚，警方跟踪朱达，并停止牺牲，但犹大被枪杀的过程中。奥贝迪亚·拉扎鲁斯在毫无指导的仇恨中，成为宗教极端主义者，对非犹太人、"坏犹太人"以及那些他认为是犹太信仰的敌人的人不宽容。他即将释放八个晚上的恐怖。一群犹太青少年正准备为节日聚会，但正在参加狂欢节。在一位聪明的拉比的帮助下，他们推断谋杀受害者违反了犹太法律，他们唯一的生存机会就是接受他们的信仰。。
