17 年前
搜影视
曾经一起打拼的日子，让两个陌生男女Alan和梦婕相识相爱，他们渐渐学会了一起哭，一起笑，养成一样的习惯。相爱简单，但相处太难，随着生活的磨炼，最初的爱情却走到被消磨殆尽最后的边缘。分开的日子里，他和她要面对的是无人应答的失落，是得不到回应的心痛，所有曾经的甜蜜美好，都成了在记忆里被反复拉扯的孤独。面对不期而至再次重逢的机会，两个人该一笑而过着遗憾，还是勇敢再爱一次？成全了你，也许只有最伤的我才懂，我们曾经相爱过。。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.。
