钝兽

1991年春夏之交，中原飞机厂家属区内，一起奸杀人案打破了往日的平静……初二女生曲靖和老留级生张雪的爸爸同为负责这起案子的警察，但有着迥异的办案风格：曲靖爸爸出身法医，迂腐和小气让他总是成为大家取笑的对象；张雪爸爸是退伍军人，办案凭直觉，因为破案率高，是单位的红人……凶手很快被张雪爸爸抓到了，但相同的奸杀人案再次发生……没人注意到被老师赶出教室的张雪再也没来上课……。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.。本来相当恩爱的夫妻顾晨和苏晚，因为一个女人夏晓的出现而变得关系紧张。在苏晚见到夏晓的那一刻她就明白了，这段婚姻已经到了结束的时候。。