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.。一个从不畏难的解决问题能手与一名硬派动物行为学家合作,要把三只恐龙运送到公园另一端的绝密展场。。根据吕铁人小说《上海滩第一刺客》改编。30年代的上海,4·12大屠杀致使无数革命志士惨遭杀害,王亚樵派赵铁桥刺杀蒋介石,赵利欲熏心,投奔接蒋政府。王发誓要亲手杀死叛徒。戴笠见国民党要员陆续被杀,密派中校特务吴怀远暗杀王。为铲除日本特务组织黑龙会,王抛开个人恩怨,暗中协助吴,可吴并没有放过王。王被迫离开上海,感到只有投奔共产党才是唯一的救国途径,正当他准备奔赴延安时,被吴等人刺杀,上海滩第一杀手就这样告别了人世。。