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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.。中年丧夫的郝玫瑰想要再次追求幸福。恶婆婆重男轻女，搞丢了孙女溺爱赌鬼孙子。郝玫瑰在相亲角被霸总张朝阳的母亲撮合与其闪婚，婚后张朝阳对郝玫瑰隐藏身份。两人闪婚后，面对不成器的儿子、无赖的追求者、无理的婆婆，张朝阳始终坚定的守护着郝玫瑰。。