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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.。霍心仪一生追求爱情，也追求财富。心仪母亲早逝，父亲又因生意失败，受不住破产打击而引火自焚。为了照顾弟妹，心仪凭着一张俏脸闯进娱乐圈。可惜，只能当一个半红不黑的女艺员。一次拍戏中途，心仪得罪了导演，被玩，几乎受辱，幸得助导章学礼帮她解围。章家与心仪父亲曾有生意往来，但霍家生意失败后，章家即时与之划清界线，令心仪看得明白何谓现实。。