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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.。无敌门与岩岗堡、笑马牧场、严家庄累世仇怨，不断仇杀人丁凋落。无敌门铁家老大铁雷因与仇家岩岗堡吕家千金相恋而死于门规，被同门义兄南宫奇分尸而死，南宫奇因负责行刑杀死铁雷与铁雷弟弟铁云结怨不被原谅。铁云性格冲动，行事鲁莽，独自一人找上岩岗堡、笑马牧场、严家庄去寻仇，诡计多端的仇家设下重重陷阱铁云身负重伤，南宫奇身负无敌门重任为救铁云忍辱负重，假意投入仇家门下，并经历了一番奇遇，邂逅无敌门前任门主……南宫奇身世为何？铁雷真的死了吗？。在巴塞罗那，埃伦娜从危险的海洛因毒枭那获得了信任和爱。与此同时，为了能最终夺取他的帝国，她不断地加强自己的能力。。