在線觀看百度云播劇情簡(jiǎn)介副標(biāo)題: 恨難解 Not Reconciled Not Reconciled or Only Violence Helps Where Violence Rules
這部類型分別為：劇情片(juqingpian)
如果你也喜歡電影,并且愛(ài)看類型是沒(méi)有和解,暴力,小說(shuō),Heinrich,Jean,Marie,Straub的作品的話一定不要錯(cuò)過(guò)
導(dǎo)演: 讓-馬里·斯特勞布,達(dá)尼埃爾·于伊耶
編劇: 海因里希·伯爾,達(dá)尼埃爾·于伊耶,讓-馬里·斯特勞布
今天給分享的影視作品主要是讓-馬里·斯特勞布,達(dá)尼埃爾·于伊耶導(dǎo)演,還有老戲骨Heinrich,Hargesheimer,Carlheinz,Hargesheimer,Martha,Staendner,達(dá)尼埃爾·于伊耶,Henning,Harmssen,Ulrich,Hopmann,Joachim,Weiler,Eva-Maria,Bold,Hiltraud,Wegener,Ulrich,von,Thüna,Ernst,Kutzinski,Karl,Bodenschatz,Heiner,Braun,Georg,Zander,Lutz,Grubnau,若阿內(nèi)斯·巴爾斯基,保羅·埃塞爾由1965年上映。
目前暫定上映地區(qū)為其它,主要的受眾語(yǔ)言其它
主要講述了:
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 B?ll’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 F?hmel 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 F?hmel 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.
好了,請(qǐng)開(kāi)始觀看把。http://www.dgvaa.cn/video/8ZAQBYZa.html
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