视频简介
巴黎是艺术之都，于是故事不得不带着颜料味，吴镇宇是一位流浪画家，并且得上一种富有艺术气息的病症，可是这病症惶惶终日，爱情许久远。杨恭如在上流场合里辗转，在一个切实的目标中寻觅，在爱情和金钱的天平上摇晃，就这样不期而遇上，开一场相互安慰的玩笑。 两位主人公便只在安慰中相互取暖。在最接近的时候，仿佛最遥远。徐志摩说这是个肉艳的巴黎，那它是否容得下两个异乡人默默的期许？。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.。