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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.。天下一大乐影片描述:繁华都市一角的远建区中，住着一群贩父走卒猪哥亮和廖俊、澎澎夫妇，还有桌胜利、朱慧珍等左右邻居。平日大家都为着生活幸福而忙碌，但是自从大家乐的歪风吹到这里。这个圈圈里的人们生活作息就起了很大的变化，猪哥亮沉迷到工作都不做了，老婆也跟人跑了，还整天的求神问卜找明牌。廖俊在这个群里是老大，但是到了大大哥倪敏然面前就成了瘪三。