视频简介
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.。拉拉派（泰莎昂·派索克乔纶 Taksaorn Paksukcharern 饰）是一个非常坚强的女人，在她怀孕的时候，她的丈夫不幸在一场意外中去世了。拉拉派最终决定生下两人爱情的结晶取名为帕姆（萨拉·纳拉帕塞尔库 Saran Naraprasertkul 饰），并且独自将他抚养长大。 随着时间的推移，帕姆从嗷嗷待哺的小婴儿，成长为了年轻有为的青年。然而，在他的心里，一直对未曾谋面的父亲怀有怨恨的情绪，认为他的不负责任造成了母亲如今辛苦的生活。可是，在拉拉派心中，她对丈夫的爱一直都没有消逝过，她甚至不认为丈夫真的离开了自己，坚信总有一天，他会以另外一种方式重新回到自己身边。终于，那一天到来了。。
