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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.。南大陆集团总公司新任总经理黎阿仔到任后，同党委书记张南健和副总经理方冠戎乘飞机考察地形，沉沉的爆破声把几座大山整个掀起。一天，围海工地临时指挥部里，姜荣、柳阿田等正围着方冠戎为能否参加出国订货会嘀咕着。黎阿仔进来向方冠戎和张书记表示：订货团必须加强技术力量。然而因机票、护照早已订好，订货团还是派出了不懂技术的姜荣等人。为扩大开放区的建设，公司大胆启用了留美硕士生苏琳和有才华的中年工程师卢篷任总经理助理，一些人对此议论纷纷。原定分给卢篷的住房被分给了别人，黎阿仔腾出自己的住房给风尘仆仆赶来的卢总一家。新厂房落成典礼即将举行，匆匆赶来的黎阿仔阻止了准备剪彩的张书记。苏琳当众指出这些机器是国外已淘汰和使用过的产品。黎阿仔不顾其他人反对，坚决撤销了姜荣、柳阿田等人的职务。黎阿仔勇于改革，新方案实施成功，并争取到华侨余女士的投资。他的成功，令方冠戎等人很嫉妒，...。