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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.。一九二八年，东北军的屯垦部队营长彭兴华在兴安岭我方的军事禁区逮捕了以进行农业考察做晃子，擅自闯入军事禁区进行间谍活动并肆意枪杀我方边民、纵火焚烧民房的日本关东军军事间谍大野建二小组。依照有权处决敌方军事间谍的国际法规，出于对大野建二等间谍肆意杀人放火的憎恨，彭兴华下令处决了大野建二等人，但当时的东北地方政府，对日本关东军奉行极为软弱的政策，彭兴华为避追查，只得离开部队回乡。他打定主意去找张学良申诉，并主张对日强硬。龙山的大户程八爷，是一个爱国的士绅，早年他和彭兴华的父亲同闯关东，在东北军中服役。因为与日本关东军发生冲突，彭兴华的父亲为掩护程八爷而死，程八爷感念救命之恩，将彭兴华收为义子抚养成人。彭兴华长大后为报家仇国恨，毅然投军。。一个草根演员陆仁甲的青春励志故事，在追寻梦想和爱情的道路上遇到了很多坎坷，也在摸爬滚打中找寻到自己人生的真谛，就是成为一名真正的演员。。