视频简介
少女迪詩運毒被補，探員林力輝憶起了十多年前曾處理過的一宗情侶兇殺案: 迪詩，正是情侶的遺孤。 1997年，15歲的女學生Elisa愛上黑社會成員文偉，並誕下迪詩。然而，殘酷的現實社會，令Elisa夢想中的家變成了不能承受的悲劇。 被遺棄的Elisa，半生活在遺憾中的林力輝，遺失了一切的文偉，遺忘了自己姓氏的迪詩…… 他們的困局正映照著這個城市的宿命。。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.。