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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.。一场赌博，两个箱子，三种视角，四帮土匪，五波势力，无数笑料。 巧合、荒谬、无奈、嘲讽，众多戏剧化巧合下的奇趣，伴随着嘲讽和冷幽默。 许六一、丁小仪一对小混混儿，参与高老大的黑帮赌局，打算捞一把。不想因为出老千，欠下100万的赌债，脱的裤子都不剩了，出门却捡了个神秘女子并且抢了她的手提箱。研究了半天，两人发现箱子里是一张藏宝地图，于是踏上了去往南诏的探宝之旅......。