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What if the only way to win is to lose?。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.。在冰冷血腥、精密恐怖的立方体外部，看守者埃瑞克·韦恩和多德百无聊赖地应付着手头的工作，偶尔瞥一眼屏幕中受困者的行动。与此同时，美丽干练的母亲卡珊德拉·瑞恩斯与女儿在林间遭到袭击。当她醒来时，发现自己丧失了部分记忆，身处一个与外界隔绝的密闭空间。她艰难地找到另外四名受困的陌生人，并与他们策划逃脱。然而，设施内杀机四伏，稍有不慎便会丧命。另一边，埃瑞克对受困者逐渐产生同情，似乎正试图破坏这座充满阴谋的杀人机器……。