### 《没有和解》观影推荐：像坐进一把旧扶手椅，慢慢听一个没说出口的故事 斯特劳布和于伊耶的镜头从不是奔腾的河，是漏着光的窗——你看着工人宿舍的水泥墙、晾衣绳上的破衬衫，听着台词像被生活磨钝的刀刃，一句句扎进日常褶皱里。演员们不像是在演戏，倒像是在宣读判决书，那种生涩、克制的状态，反而比任何煽情都更有力量。这种疏离的叙事反而让罪恶显得更加真实且无处可逃。非职业演员僵硬却真实的念白，让那些平庸的恶显得更加令人不寒而栗，彻底打破了观众对历史题材的惯性期待。Hargesheimer兄弟的面孔如同从中世纪壁画中走出，他们的台词不是表演而是宣告，在巴伐利亚外景与室内空间中形成压抑的复调。还有相信电影可以不好看但必须诚实的人。
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.相关搜索：
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