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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.。老皮是东北农村的中年农民,唱二人转远近闻名。因为一次在外演出,没能在家照顾怀孕的妻子刘香导致流产。因此深深自责,发誓从今往后不再唱二人转。入冬后老皮卖苞米的400元钱却被卖假人参的骗子骗走,老皮不知是假,准备将人参进行包装后高价卖出...。古峰和颜敏因登记结婚招致轩然大波，颜母以死相逼，古峰只好暂时作罢，姐姐古丽因弟弟结婚倒房子与丈夫险些大打出手，家里闹得鸡犬不宁。古峰把责仼一古脑推给颜母，仼自已妈妈怎么劝说都听不进去，无能的姐夫婚后一直住在丈人家，这会儿也象泄了气的皮球不便多言。颜母因有过两段失败婚姻，视女儿的未来为头等大事，她不愿女儿嫁给古峰这种“等外品”，最终携女儿出国定居。心如死灰的古峰偶遇富家女金贝，平日里挥金如土的金贝竟爱上了穷职员古峰，令古峰受宠若惊。古丽极力撮合弟弟娶金贝为妻，认为弟弟时来运转。古峰遵从众人撮合与金贝结婚。不料，大婚之日，不幸发生了......。