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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.。水警辉与专栏作家妻子阿芝原本计划利用假期去日本旅游，但阿芝在元朗的母亲和妹妹阿芬最近被开发商骚扰，辉只得不情愿地随阿芝去元朗守卫岳母的老宅。甫一到达，一名徘徊在老宅门前的风水师便警告辉、芝夫妻，声称此屋犯太岁，且先前诸风水布局已经失控，堪称凶宅中的凶宅，七日之内必有灾祸，辉不以为意。入住当夜，辉撞破正在为了开发商收地而装神弄鬼的歹人，又在院中遇见一名哭泣的女孩，从此，一系列怪事不断发生，他们一家人的关系也愈发紧张。而这些闹鬼事件背后的真相，居然和辉与阿芝没有子嗣有关……。