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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.。诸葛亮生于乱世，胸怀兴汉室、安黎民之大志，出山辅佐刘备。但曹操势大军猛、刘备屡战屡败，几无容身之地。为彻底击败曹操，实现三分天下有其一的宏伟抱负，诸葛亮毅然赴江东游说，联吴抗曹。一代名将诸葛亮真正做到了“鞠躬尽瘁，死而后已”。。