视频简介
这是高见翔警官生命中最艰难的一天：老母亲去世，疑似受贿被要求配合调查取证。在奔丧的路上，他又意外撞死了人。手忙脚乱的“毁尸灭迹”，他以为生活可以回归到波澜不惊。却不料，他撞死的其实是一名通缉犯，而驾车逃逸的他也同样被警方盯上。与此同时，一个神秘电话打来，高警官惊觉，这一切竟然是个阴谋，而他已经深陷迷局。。世间事，唯有能者居之，而无争者胜之，我本游走于市井之间微末凡尘，但若风雨将至，我亦可傲然挺立、一手遮天……。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.。