one day 字幕

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.。老周，五十一岁，他的生活是一个普通民警的生活。凌晨两点钟，老周和同事们蹲在麦田里，等待一个偷电缆线的嫌疑犯，他们跳墙进去，破门而入，屋里只有嫌疑犯的老妈和嫌疑犯的妹妹。老周和他们唠家常，派了一个同志去打听，得知嫌疑犯在别处，老周带人去抓。凌晨四点半，老周半路下车骑着三轮车，和老婆去批发市场批蔬菜。老周把菜拉回家，他发现本该早起来做饭的儿子在睡懒觉。儿子想去深圳打工，老周不同意，父子俩又吵了一架。老周在派出所录口供，发现自己的字写得歪歪扭扭。他带着罪犯去电营厂作现场笔录，让他指出盗窃地点，作完口供，他把罪犯单独锁在一个屋里，又做其他人的笔录，忽然警觉必有内应。他跑到锁罪犯的屋，罪犯跑了。所长安排警察们四处查，让他先回家休息。老周心里憋气，他要自己去找。所长告诉他妹妹坐下午的一趟火车来。老周觉得今天恍恍惚惚，心不在焉，他以为是十几个小时没睡觉的缘故。老周...。