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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.。一名因过去的悲惨事件而感到焦虑的少女发现自己在树林中被一名反社会者疯狂追杀。。作为秘密特工的萨姆真实的身份无法被别人知晓，哪怕是自己身边的好友都不知道。这次，萨姆面临一项艰巨且陌生的任务：为儿时最好的朋友当伴娘。从未参加过此类活动的萨姆在婚礼现场感到极度的不舒适。她没法适应这样打扮的自己以及这种没有人可以交流的场合。就在她尴尬踌躇之际，一伙犯罪分子潜入会场。他们得知现场有许多的金子便起了打劫的念头。眼看自己好友的婚礼即将被毁于一旦，而且众人的性命也将受到威胁。萨姆终于展示自己的本领，利用自己特工的过人身手和机警的思维成功保护了大家，击退坏人，等到了警察的救援。。