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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.。付雪梨和许星纯曾经谈过一场彗星撞地球般的恋爱。他们在最孤独的青春里对彼此有着致命的吸引力，却也在最无力的年纪轰轰烈烈地搞砸了一切。 六年后骤然重逢，一个成了明艳张扬的顶流女星，一个成了冰冷禁欲的法医。早已深谙伪装之道的二人却在情欲的试探博弈中再度坠向彼此。爱情很糟糕，它让人变得自私又残忍，于是清醒者沉沦，自持者失控，昔年和今日，爱恨如飓风过境，看他们如何收拾这场残局。。