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虽然他们仍然彼此相爱，劳雷尔和詹姆斯布里格斯，青少年乔希和丹妮拉布里格斯的父母，在他们的婚姻中遇到了麻烦。虽然从婚姻咨询出来劳雷尔说，她原谅了詹姆斯一次只有婚姻的轻率，她有时忍不住反对他的感觉，她的感觉。双方的怨恨也逐渐蔓延，詹姆斯经常指责劳雷尔把她的事业置于家庭之上，而两人都以相互矛盾的方式处理婚姻压力。就在她和詹姆斯就其中一个冲突地区发生争执之后，劳雷尔在两天的会议上出城，成为另一位与会者肯特·安德森（Kent Anderson）与他有性联系的牺牲品，事后她立即后悔。尽管劳雷尔毫不含糊地告诉肯特，他们的联络是一夜之一，他开始公开追求她，至少公开地对她暗示威胁，以暴露他们的尝试。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.。