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.。不会水的泳池救生员英铭(赵毅 饰)被揭穿后惨遭辞退,债主又派打手在街头围堵他,幸好有售楼员女友小柯(李念 饰)不离不弃,英铭向女友谎称自己是医生之余,又百忙中借来朋友的房子向未来岳母交差。岳母大人对婚房不满,英铭假戏真做把朋友的房子卖了出去,又如法炮制借房向小柯承诺未来的幸福生活,趁小柯挑剔之机,英铭再次把别人本来就是委托他卖掉的房子转手。一来二去,英铭发现了代理售房的利润,亦洞悉了隐藏在自己身上的售房天才,于是和失业的小柯一起,踏上了售房征途。英铭奇招尽出搞定了多个缺陷房,不料却被道中高手摆了一道,不甘失败的英铭决定向国际大项目迈进……。根据张恨水小说《秦淮世家》改编。