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.。一位同志教师的一夜情,如蝴蝶翅膀掀起了一场席卷全国的丑闻风暴。在私立学校教IT的老师亚当(汤姆·哈珀 Tom Harper 饰)周末到伦敦度假,机缘巧合邂逅英俊陌生的男子杰克(肖恩·布鲁斯南 Sean Brosnan 饰)。一夜情后杰克离奇遇害,而亚当发现自己陷入了一个强大到难以揣度的陷阱里。他的一举一动都受到数百个摄像头的全方位监控,他的生活和工作脱离了原有轨迹,而这一切据说与英国皇室的某人有关。亚当被迫开始逃亡,他只有两个人可以信任——断绝关系多年的父亲,以及记者兼老友艾米(朵恩·斯蒂尔 Dawn Steele 饰)。亚当掌握的信息并不多,但他发誓要查出事实真相......。你必须战斗才能生存...... 还是你会为了克服过去而战斗?。