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《迷离悬案：止痛药谋杀事件》由尤塔姆·古德拉曼和阿瑞·派恩斯（《晦暗真相》《Buried》）执导，乔·伯灵格（《迷离悬案：选美小皇后之死》《对话杀人魔》）监制，是一部扣人心弦的三集纪录片，对一起粉碎国民对日常品牌安全信任的骇人罪案进行了回顾。1982年的芝加哥，至少七人因服用含有氰化物的泰诺胶囊不幸身亡，引发全国恐慌，当局随即展开美国历史上规模最大的一次刑事调查。这几起可怕的死亡事件是否存在幕后主使，亦或其仅仅是为了掩盖某个更加黑暗的阴谋而被推出去的替罪羊？该案件使全球最畅销的药物沦为恐怖符号，并彻底改变了人们对自家药柜中药品的看法，而本剧集重新对本案进行了探究。。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.。