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Luster 莱斯特, 是一个内向谨慎, 因失眠而神经衰弱的景观设计师, 他发现每天早上起床後总是累趴趴的. 直到有一天. 他怀疑自己患了梦游症, 当他睡觉後, 常干出一些自己都不记得的鸟事, 於是开始寻求朋友的协助。问题是, 他的朋友不是失踪就是死了, 且证据显示是莱斯特干的, 警察也找上门, 这回他可慌了.....因此, 为了保护妻子, 他必须振作起来, 勇敢对抗另一个自己, 论战术, 论心智, 论聪明度, 他是否对抗得了另一个邪恶的自己呢?。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.。近代其他北京同里影业有限公司。