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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.。铃之宫莉莉纱就读于只允许一流淑女入学的“樱心女学园高中部”。她为了取得学园最高荣誉称号“高洁淑女”而勤奋学习，是令周围人也崇拜不已的大小姐。但实际上，她在一年前才跟着再婚的母亲进入铃之宫家，是“前·平民”。为了回应母亲的期待，莉莉纱压抑真心，舍弃最喜欢的摇滚和吉他，坚持做着大小姐。有一天，她与受到全校学生憧憬的黑铁音羽相遇，并在机缘巧合之下，目睹了打架子鼓的音羽…… 大小姐×摇滚！？心声与心声激烈碰撞的青春摇滚动画，开幕！。1979年，莫斯科奥运前夕，苏联边陲的哈萨克小镇出现了一位以女性为目标的连续杀人犯，还是个食人魔，严重影响国家形象。实习警探薛尔与从小相依为命的姊姊蒂娜同住，初出茅庐就遇上这等大案，姊姊担心不已。岂料警方顺利抓到食人魔，精神病院却关不住他，逃亡在外的杀人犯再次唤起镇民的恐惧。。