断背山 迅雷

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.。Reform schools are a way of protecting society by ridding it of lawless juvenile delinquents. But who's protecting the juvenile delinquents from corrupt reform schools? Rica (Rika Aoki) could be considered a bit of an expert on reform schools, having spent most of her early life in and out of them. When Rica is dragged back once again, she gets a severe beating and is finally sent off to a mental hospital with the intention of selling her and her pals into a slave trade. A trader takes Rica's friend Jun to a mountain cottage where she's pegged for the lead in his clandestine porno film operation. Once again, it's up to tough-as-nails Rica to bust up this corrupt racket once and for all!。