没有和解
影片信息
- 状态：HD
- 主演：Heinrich Hargesheimer,Carlheinz Hargesheimer,Martha Staendner,达尼埃尔·于伊耶,Henning Harmssen,Ulrich Hopmann,Joachim Weiler,Eva-Maria Bold,Hiltraud Wegener,Ulrich von Thüna,Ernst Kutzinski,Karl Bodenschatz,Heiner Braun,Georg Zander,Lutz Grubnau,若阿内斯·巴尔斯基,保罗·埃塞尔
- 导演：让-马里·斯特劳布,达尼埃尔·于伊耶
- 年份：1965
- 地区：其它
- 类型：剧情/
- 时长：内详
- 上映：未知
- 语言：其它
- 更新：2025-04-17 22:02
- 简介： 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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剧情简介
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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评论
共 881 条评论-
许小硕 142.239.165.10这是一部不一样的丧尸片，看完这部电影后，我感慨到：与丧尸相比，人性冷漠更是致命的刺刀。 -
哇！相如 101.43.80.210第一次看《釜山行》，将人们在极端情况下的人性体现的淋漓尽致，男主的心路历程，从开始的冷漠到最后的转变，也是黑暗中的些许暖意，爱情，友情，亲情在这层层的黑暗中反而显得更加珍贵 -
美的憔悴 56.1.42.235想看第二部 -
蜗牛 137.248.50.4非常好的片子，直击人性。故事的剧情主线也非常好。 -
婷云赵 234.128.158.65看了之后在哪都感觉会随时出现丧尸，很真实