视频简介
上世纪九十年代，歌手阿兰对当下的流行音乐有着独到的见解，她渴望在演出中张扬个性，唱出风格。但签约公司对她的发展前景、包装理念与她本人的想法格格不入，令她十分纠结。阿兰的男友江伦要求她顺应公司安排，不要标新立异。一个偶然的机会，阿兰邂逅某广告公司的经纪人许宁，二人有似曾相识的感觉。许宁帅气豁达、谈吐优雅，他了解阿兰的苦衷后，耐心向她讲述了守桥将士的英勇壮举和义薄云天的感人故事。阿兰出神地听着，被许宁的讲述完全打动了。她应邀去部队为战士们演出，感到自己的艺术才华得到了最大程度的量化。。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.。
