解放战争电影1000部

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出生于波斯尼亚的阿伊莎，她的兄弟神秘失踪了。她和摄影师埃利亚斯组成了一个拍摄纪录片的团队，旨在探究她兄弟失踪的真相。但是，在拍摄过程中，他们与另一个电影团队不期而遇。这个电影团队正在制作一个更加阴险的故事，两个团队的目的和意图开始相互交织、甚至冲突...。17岁的躁郁症男孩Jakob寄希望于虚拟世界来逃离现实生活。百无聊赖的一晚，在网络聊天室，他遇到了26岁的Kristjan…。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.。