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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.。他们是为共和国做出巨大贡献赢得无上光荣的人；他们坚守一生，诠释了什么是奉献，什么是职业。本片以一个全新的角度，不着力用墨于世人所熟悉的荣耀，而是深描他们的探索、追寻和蕴含在其中的刻苦与勤奋，以还原他们真实的人生。。电影《笔仙归来》由稻草人影业出品。 晨晨是家小杂志社的编辑，每天繁重的稿件压力让自己透不过气。工作之余，她参与了朋友组织的桌游聚会，其中一人提议大家玩笔仙游戏，对笔仙游戏倍感新鲜的她参与了游戏。自此以后，晨晨发现生活中总有有人跟着她，仿佛笔仙游戏召唤来了真的笔仙，各种噩梦萦绕，虚虚实实困扰着她，最终她发现原来这一切都因为..。