没有和解 Nicht versöhnt oder Es hilft nur Gewalt wo Gewalt herrscht (1965)

  • 片名:没有和解 Nicht versöhnt oder Es hilft nur Gewalt wo Gewalt herrscht (1965)
  • 导演:让-马里·斯特劳布
  • 类别:剧情
  • 评分:7.6
  • 地区:德国
  • 语言:德语
  • 主演:Heinrich Hargesheimer/Carlheinz Hargesheimer/Martha Staendner
  • 上映日期:1965
  • 片长:USA 55 分钟/ Argentina 55 分钟(Buenos Aires Festival Internacional de Cine Independiente)
  • 作者:让-马里·斯特劳布/达尼埃尔·于伊耶
  • 中文名:没有和解
  • 外文名:Nicht versöhnt oder Es hilft nur Gewalt wo Gewalt herrscht
  • 又名:恨难解 / Not Reconciled
  • 影片简介
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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...
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...
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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