不掉血文件

视频简介

改革已经从克里姆林宫的看台走到了城镇的街头。苏联正在我们眼前消亡，伴随着变革的前兆，言论自由、音乐自由、价格自由、良心自由出现了，近乎无法无天。在父母为生存而战的同时，被大家遗弃的孩子们流落街头，成群结队地 "为沥青而战"。他们为了控制在自己土地上矗立或移动的一切而战。在成人一代普遍贫穷和迷失的情况下，青年群体却有明确的生活规则、支持和比誓言更有力的承诺。但是，友谊和正义观念越来越多地与暴力和犯罪混杂在一起。在这一重要的历史背景下，该剧展现了小学生安德烈从一个单纯的 "chushpan"（没有 "加入 "任何团体的青少年的称呼）成长为一个残忍的孩子的过程。。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.。