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沒有和解HD中字在1965年由鬼才導(dǎo)演讓-馬里·斯特勞布,達(dá)尼埃爾·于伊耶和偶像派演員Heinrich,Hargesheimer,Carlheinz,Hargesheimer,Martha,Staendner,達(dá)尼埃爾·于伊耶,Henning,Harmssen,Ulrich,Hopmann,Joachim,Weiler,Eva-Maria,Bold,Hiltraud,Wegener,Ulrich,von,Thüna,Ernst,Kutzinski,Karl,Bodenschatz,主演的其它影視題材劇共同拍攝完成,《沒有和解》在其它上映,沒有和解HD中字演員們以扎實(shí)的演技功底,精準(zhǔn)刻畫角色的內(nèi)心起伏與命運(yùn)轉(zhuǎn)折

《沒有和解》其它劇情簡(jiǎn)介: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.