潘多拉盒子

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.。《坎特维尔的幽灵》根据同名热销小说改编，由BBC制作的奇幻惊悚喜剧，讲述一个美国亿万富翁海勒姆·奥蒂斯（Hiram Otis）购买了位于英国历史悠久的古典豪宅后，居住在这里的幽灵西蒙·德·坎特维尔爵士（Sir Simon de Canterville）一点也不高兴。海勒姆不知道西蒙已经在这里闹鬼五个世纪了，也不知道他的家人即将面对当地贵族的敌意。这个经典的现代故事围绕三个家族展开：贵族坎特维尔家族、罗曼尼·洛弗尔斯家族和美国奥蒂斯家族。。