没有和解

斯特劳布与于伊耶的这部处女作，用近乎考古学的视听语言重构了纳粹时期的德国。 or 对德国历史、左翼政治题材感兴趣的。看完心里会堵得慌，但真的过瘾！ 6️⃣6️⃣6️⃣。别嫌闷，等你看到最后海因里希站在窗口抽烟，背景是灰沉沉的天空，你会突然明白——有时候“没说出来的”，才是最狠的真话。 ✿。这种近乎纪录片的手法，让演员的表演显得生涩而真实，仿佛在偷窥真实的生活。

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.

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