视频简介
玛侬（Jacinthe Laguë 饰）是一个气质优雅的女人，她的过去充满谜团，却深深地吸引了她的同事史帝芬。两人的关系进展顺利，玛侬开始期待着幸福的生活。然而，就在她以为一切都可以安宁享受的时候，过去的噩梦突然涌现，让她不知道何时是清醒的终点。 玛侬无意中看到了一个让她永远难以忘怀的刺青，这个刺青带她回到了15年前的少女时代。在那个时候，一次无意的搭便车导致了一场悲剧，五个好朋友失去了彼此的亲密，留下了触碰到疼痛伤口的阴影。玛侬意识到，15年前发生的事情改变了她们的青春，让她们的生活变得不同。现在，玛侬面临着重新审视那段过去的机会，试图理解那一年究竟发生了什么，为什么导致了她们的生活如此改变。她们是否能够重新开始，或者摆脱过去的囚禁，找到真正的自由和幸福？。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.。