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.。《人猴大裂变》讲述了在改革大潮冲击下，耍猴人沙高一家及青年振平走街串巷，以此维持生计并憧憬着有朝一日发家致富。为了招来观众，他们想出了人猴搏击的招数，结果自食其果，以悲剧告终。 以耍猴为生的沙高请来村民振平为他逮猴，振平为此摔断了腿，振平的伤好以后，他和沙高决定在猴戏中增加“人猴大战”的新节目。在“人猴大战”的表演中，两人确实挣了不少钱，但振平的妻子荀儿看不惯沙高把振平当猴耍，两人争吵起来。在又一场表演中，精疲力竭的振平被猴群打得怎么也爬不起来，荀儿自己上场，任凭猴子的欺负。振平知道了荀儿希望自己活得像个人的良苦用心，选择离开了沙高，并和荀儿一起将猴子放归森林。。
