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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.。从幼儿园起，藤田浩之（一条和矢配音）和神岸明（川澄绫子配音）就是青梅竹马的好朋友。浩之的性格有些懒散，但在内心里十分的善良；明天真无邪，有着邻家女孩的甜美与可爱，这样的两个人是他人眼中天设地造的一对，他们更是早已结下了永远都要在一起的海誓山盟。作为两人共同的朋友，长冈志保（樋口智惠子配音）和佐藤雅史（保志总一朗配音）对这二人之间的感情充满了真诚的祝福。 崭新的高中生活展现在了四人的眼前，可是，一些小小的阴霾打破了原有的平静生活。志保发现，自己无论如何也移不开投射在浩之身上的目光，志保无可救药的喜欢上了浩之。为了维持难得的友谊，志保决定将心意藏在心底，但随着爱意的不断加深，三人之间的关系第一次被推到了风口浪尖。。