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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.。影片讲述河南信阳董寨自然保护区第一次朱鹮野外放飞的故事。放飞之初，很多没有野外生存经验的朱鹮意外死亡，工作人员黄治学奔走野外，密切关注发现踪迹的几只朱鹮。在经历了越冬、求偶、繁育、幼鸟夭折等种种波折之后，一对朱鹮终于在野外成功哺育幼鸟。。本片改编自同名漫画，讲述了正直不会说谎，想说的事马上传达，过着直球式生活的关川亚心子，和不能让人看到内心深处，亚心子的好朋友谷口充希，在高二新学期的第一天里，学校里最受欢迎的前辈御共直己因为留级意外降临到了这两个同年级学生的身边。马上对他一见钟情的亚心子，和一边说着不喜欢他一边做出奇怪行为的充希… 这场不能输的恋爱之战是否即将开始呢？。