导演：
让-马里·斯特劳布 达尼埃尔·于伊耶
主演：
Heinrich Hargesheimer Carlheinz Martha Staendner 达尼埃尔·于伊耶 Henning Harmssen Ulrich Hopmann Joachim Weiler Eva-Maria Bold Hiltraud Wegener von Thüna Ernst Kutzinski Karl Bodenschatz Heiner Braun Georg Zander Lutz Grubnau 若阿内斯·巴尔斯基 保罗·埃塞尔
关键词：没有和解 暴力 小说 Heinrich Jean Marie Straub
《没有和解》拍摄于1965年，所属题材类型：剧情 ，是一部Heinrich Hargesheimer Carlheinz Martha Staendner 达尼埃尔·于伊耶 Henning Harmssen Ulrich Hopmann Joachim Weiler Eva-Maria Bold Hiltraud Wegener von Thüna Ernst Kutzinski Karl Bodenschatz Heiner Braun Georg Zander Lutz Grubnau 若阿内斯·巴尔斯基 保罗·埃塞尔 主演的中国大陆综艺，影片的导演是让-马里·斯特劳布 达尼埃尔·于伊耶 。
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《没有和解》拍摄于1965年，所属题材类型：剧情 ，是一部Heinrich Hargesheimer Carlheinz Martha Staendner 达尼埃尔·于伊耶 Henning Harmssen Ulrich Hopmann Joachim Weiler Eva-Maria Bold Hiltraud Wegener von Thüna Ernst Kutzinski Karl Bodenschatz Heiner Braun Georg Zander Lutz Grubnau 若阿内斯·巴尔斯基 保罗·埃塞尔 主演的中国大陆综艺，影片的导演是让-马里·斯特劳布 达尼埃尔·于伊耶 。
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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 B?ll’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 F?hmel 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 F?hmel 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.
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