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海绵宝宝是方块形的黄色海绵，住在比基尼海滩（裤头村、比奇堡）的一个菠萝里，他的宠物是一只会“猫~猫~”叫的海蜗牛小蜗，海绵宝宝喜欢捕捉水母，职业是蟹堡王（The Krusty Krab）里的头号厨师。派大星和姗迪都是他的朋友。海绵宝宝总是能给平静的世界制造麻烦，虽然闹出一些笑话，不过他总能摆脱困境，然后又制造出新的麻烦。。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.。