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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.。《经典咏流传》第五季将在“和诗以歌”的原创模式下全面升级。立意上以“大美中华”为主题,不仅呈现经典诗词中的自然山河之美,更诠释中华民族的历史文化之美,歌颂幸福生活之美,用经典诗词勾勒“大美中华”的深刻内涵与文化力量;呈现形式上,将拓展经典传唱的多样性,结合专业领域艺术家打造贯通古今、身临其境的高品质“创演”,并融合物质文化遗产与非物质文化遗产,挖掘经典作品中更深刻的历史底蕴。。