花样男子泰剧

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.。「擁抱自己，單身快樂」單身女性不是敗犬，只是一種生活的選擇；自主權在手，活出自己想要的樣子，真正享受當下! 一眾不同Generation之單身女藝人，將化身民宿主人，連同「妹仔」Pony，合力推行「姑婆主題體驗」，廣邀不同年齡、不同身份的女嘉賓前來作客。女藝人屋主從貼心照顧嘉賓膳食開始，親選食材、根據各自「單身一人食譜」以及嘉賓與前度的經歷，烹調菜式。究竟嘉賓們品嘗過「前度菜」後，會否因勾起戀愛回憶而期盼下一段關係，或是依然故我繼續單身快樂? 屋主們更會以自己單身生活經驗，為嘉賓度身訂造活動，讓他們感受一人宅在家，其實一樣可以好快樂！。