心花放

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.。受夠父母的16歲少女（程希緹飾），闖入一座詭譎的奇幻遊樂園，她表裡不一的爸爸（温昇豪飾）與別有居心的媽媽（曾珮瑜飾），這對有名無實的夫妻，竟然被一群詭異少年綁架到樂園裡關起來 ...。故事发生在一间少儿武术馆内，一群孩子，在学武的长期相处中，发生了许多啼笑皆非的生活小插曲，为枯燥的武馆带来欢乐的源泉，虽然孩子们一开始为了逃避学武与师傅斗智斗勇，但却在武馆被迫要转卖的危难关头，大家想方设法去保住武馆。小小的武馆，承载着大大的世界，孩子们精彩的故事依旧上演着.....。