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女子高生キョウカは祖母と貧しい二人暮らしで将来は霧の中。憧れの海外旅行は夢のまた夢。危険ドラッグのバイヤーのタカコは謎のグループに襲撃を受け、商品を強奪される。元締めに足を洗いたいと申し出ると引換えに500万円払えと脅される。親の借金のカタとしてヤクザにAV、風俗へと売られたミサキは危険ドラッグで胸の穴を埋めるが…。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.。上世纪60年代中期是一个因为反战抗议、精神诉求和摇滚乐而异常喧嚣的时代,而在这样一个大环境下发生的爱情故事,不安中却又能显示出更多的浪漫情怀和热情……一对在爱情的道路上经历了太多障碍的小情侣裘德和露西,随着一群朋友和音乐家从利物浦码头的造船厂到格林威治镇那充满了创新的幻象中,再从底特律永远是骚乱的街道抵达越南杀戮血腥的战场,在罗伯特博士和凯特先生的引导下,积极地将自己投身于反战和反主流文化的运动中。然而,由于无法控制、来自外界的各种冲突引起的混乱,令裘德和露西最终走向了不同的道路……这一切都迫使着这对年轻的爱人拨开重重的阻碍,疯狂地寻找着那座灵魂的桥梁,能够将他们重新带回爱情的起点。。
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