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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.。英俊潇洒的托马斯(Daniel Giménez Cacho 饰)是个风流倜傥的女性杀手,他终日游走花丛中,与之发生关系的女性不计其数。年轻的护士希尔维亚(Dobrina Liubomirova 饰)便是这众多女性中的一员,她反感托马斯的处世态度,决心戏耍他一番。希尔维亚在托马斯的体检报告中小动手脚,使其体检呈阳性。得知自己罹患艾滋病的托马斯无比绝望,他决定以自杀结束多姿多彩却短暂的一生。偶然机会,他邂逅了因丈夫外遇而同样想自杀的克拉莉萨(Claudia Ramírez 饰)…… 本片荣获1992年墨西哥电影金像奖最佳原创剧本奖,并位列墨西哥百佳电影第87位。。
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