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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 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.。照明娱乐与环球影业携手带来了第八部动画电影《绿毛怪格林奇》。该片基于苏斯博士广受赞誉的经典圣诞故事改编，讲述了性情乖戾的主人公绿毛怪格林奇想要偷走圣诞节，却最终被一位富有节日精神的小女孩改变心意的故事。这部有趣、暖心又亮眼的影片，展现了圣诞节的精神和乐观主义不屈不挠的力量。 奥斯卡提名得主本尼迪克特·康伯巴奇为古灵精怪的格林奇献声。格林奇独自一人居住在“格林山洞”里，陪伴他的只有忠诚的伙伴小狗麦克斯。“格林山洞”里装满了各种各样能满足他日常生活所需的发明和机关，他只在食物消耗完的时候才会与住在呼呼镇的邻居们见面。 每一年的圣诞节，格林奇原本孤独而宁静的生活都被邻居们越来越盛大、华丽又喧嚣的庆祝活动所打扰。所以，当呼呼镇的居民们声称今年的圣诞庆祝活动要比往年盛大三倍的时候，格林奇意识到，找回安宁而平静的生活只有一个方法：他必须偷走圣诞节。为此，他决定要在圣诞夜装扮成圣诞老人，甚至愣是抓来了一头无精打采的麋鹿给他拉雪橇。 与此同时，呼呼镇上的小女孩辛迪·露·呼呼，正沉浸在她的节日大计中：她与一群好朋友策划在圣诞老人巡回经过的时候抓住他，这样她就能向帮助了她过度操劳的单亲妈妈的圣诞老人表达感谢。然而随着圣诞临近，她的妙计与格林奇的“阴谋”撞车了。辛迪·露能够最终遇到圣诞老人吗？格林奇这次能够成功地破坏呼呼镇的节日庆祝活动、甚至终止这个传统吗？。