虐恋电影

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.。飯代ほしさに用心棒に雇われた"BUTA"が連れて行かれた先は海賊船だった。その船倉には、家宝の地図と共に誘拐された"キツネ"がいた。キツネの機知により、BUTAはキツネを救わざるを得なくなる。大立ち回りの末に海賊"トラフグ"一味から逃れるBUTAとキツネ。欲望に忠実でバイタリティあふれる大人のBUTAと、心は純粋だが世間を知らない子どものキツネの逃避行が始まった。それは地図の謎も絡み、女盗賊"グッピー"一味も加わっての大騒動へと発展していく。。