没有和解
影片信息
- 状态：HD中字
- 主演：Heinrich/Hargesheimer/Carlheinz/Hargesheimer/Martha/Staendner/达尼埃尔·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/若阿内斯·巴尔斯基/保罗·埃塞尔/
- 导演：让-马里·斯特劳布/达尼埃尔·于伊耶/
- 年份：1965
- 地区：其它
- 类型：剧情/
- 时长：内详
- 上映：未知
- 语言：其它
- 更新：2024-06-25 19:10
- 简介：没有和解1965 播出年由Heinrich Hargesheimer Carlheinz Har 主演,让-马里·斯特劳布 达尼埃尔·于伊耶 导演的《没有和解》在线观看,《没有和解》百度云网盘资源以及《没有和解》高清mp4迅雷下载，希望您能喜欢！
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.
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剧情简介
农夫电影网为您提供1965 年由Heinrich Hargesheimer Carlheinz Har 主演,让-马里·斯特劳布 达尼埃尔·于伊耶 导演的《没有和解》在线观看,《没有和解》百度云网盘资源以及《没有和解》高清mp4迅雷下载，希望您能喜欢！
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.展开
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.展开
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