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.　　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.

• HD中字

  最长的一码

  亚当·桑德勒,克里斯·洛克,伯特·雷诺兹,崔西·摩根,爱德华·邦克

• 正片

  触底反弹

  安宰弘,金武烈,金旻

• 正片

  女孩

  维克托·波尔斯特,阿里耶·沃索尔特,奥利弗·博达特,蒂伊门·戈瓦尔茨

• HD

  黑白之间是彩色世界

  托佩·特德拉,瑞尤·大卫,玛莎·厄赫诺梅,乌切·伊卢梅鲁,弗洛伊德·阿内科维

• 更新至93集

  灰姑娘游戏

  山谷花纯,吉田明加,春川芽生,佐々木萌詠,清水爱理,阿知波妃皇,其原有沙,水木彩也子,凛青,湯浅菜月,西岡璃南,澤井まどか,長田彩花,骏河太郎

• HD中字

  1888

  Neethu Shetty,Prathap Kumar

• HD中字

  世外桃源2012

  芮安·辛普金斯,约翰·浩克斯,Kendall Toole,Ty Simpkins

• HD中字

  热血雪雕队

  娜塔玻·提米露克,Nuttawat Thanataviepraserth,Chatchai Chinnasri,Sadanont Durongkavarojana

• HD中字

  邪恶之城

  尤里亚·凯林娜,奥尔加·鲍德罗娃,索菲亚·什德洛夫斯卡娅

• 正片

  家族荣誉4：家门的受难

  申贤俊,卓在勋,金秀美,林亨俊

• 正片

  我丈夫的煤气灯：摩根·梅泽尔的故事

  贾娜·克莱默,奥斯汀·尼科尔斯,李·阿凡特,皮特·伯里斯

• 正片

  惩罚循环

  若叶龙也,伊势谷友介,山下莉绪,金大勇