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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.。叛逆的少年基姆坦普尔有种奇怪的症状，让她情绪非常不安；紧张的环境会使她失去知觉。凑巧的是她从小恐惧的父亲快要从监狱里被释放。当基姆发现她晕倒时会让她回到过去，她的生活因此发生了意想不到的变化。为了能找到更多能延迟她父亲被释放的犯罪证据，基姆一次再一次的强迫自己进入危险的处境和紧张的情绪为了回到更多自己过去的记忆中。虽然她有朋友能帮助她，但每次穿越时空都会对基姆造成伤害。基姆的健康状态越来越差，但因为太多利害攸关，退出并不是选择之一。。