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一窥邪教领袖的独门秘籍，看他们如何获得无条件的爱戴、无穷尽的奉献，以及控制他人身心和灵魂的能力。。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.。景色如画、气候宜人的欧洲小国“基诺维亚”终于迎来了刚刚从大学毕业的米娅公主。公主的到来显然引起了举国轰动，因为她将在皇后的帮助下最终成为王国的主宰者。同时这位芳龄21岁的公主也显得无比兴奋，坐落在密林深处的宏伟古堡更是深深地吸引了她。 不久一个难题出现在眼前。在一次皇家听证会上，大法官宣布：“依照基诺维亚王国的法律，若想成为拥有王国统治权的合法皇后，必须要在30天内订婚并结婚。否则，她将失去这个资格。” 想在短短的30天内组建家庭确非易事，更何况是一个身受繁杂的皇室法典约束的公主。于是一场纷乱紧张的“选秀”开始了。然而这一临时抱佛脚的“相亲行动”起初并不顺利，候选人条件似乎永远也无法满足人们的要求。直到有一天，一位英俊的年轻人出现在公主的面前。 一边闪电般同未来的“真命天子”培养感情，一边还要接受皇室的各种高雅教育，一时间，公主米娅忙的不可开交，更是引出不少笑料。然而荒诞滑稽过后自然是皆大欢喜的收场，同时米娅身上那无比诱人的青春气息也感染着这个古老而沉静的国度。。