tv

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.。卡尔文是一个聪敏而讨人喜欢的孩子。一天，在瑞西德举办的少年棒球赛中，卡尔文从脚下裂开的地缝里穿越时空的隧道来到了中世纪的凯摩洛德王朝。原来，凯摩洛德的亚塞国王失去了往日的神威，作恶多端的贝拉斯克勋爵对王位蓄谋已久，是摩林神灵把卡尔文作为骑士带到这里拯救凯摩洛德的。 卡尔文的到来被贝拉斯克勋爵视为他夺取王位的障碍，在几次除掉卡尔文没能得逞后，贝拉斯克勋爵派人绑架了对卡尔文逐渐产生好感的二公主凯瑟，并以此胁迫亚瑟国王把公主萨拉嫁给他。王宫里的凯恩武士是萨拉公主的意中人，她希望在王宫的大比武中选拔出能真正继承王位的夫君。 经历这场劫难后，亚瑟王不仅看清了贝拉斯克勋爵的丑恶嘴脸，而且还恢复了往日的神威，他同意了萨拉公主比武招亲的请求。比武开始了，凯恩负伤后，卡尔文在代他披挂出征中战胜了贝拉斯克勋爵。完成了拯救凯摩洛德的使命后，在摩林神灵的帮助下卡尔文又回到了棒球赛场。。为了从迷之巨大怪物手上守护日本的和平，新干线超进化研究所开发了「新干线变形机器人 辛卡利欧」。为了防备新的敌人袭来，研究所还秘密开发新型机器人「辛卡利欧Z」。与「辛卡利欧Z」适合率高的孩子们被选作驾驶员，与研究所的人们合力迎击再次出现的巨大怪物体。未知的敌人出现。两个少年的相遇。辛卡利欧进一步进化即将开始！！！。