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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 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.。私立天翔学园位于巨大学园都市群的第七学区。 心事重重又不善言辞的转学生音之宫朔，在与歌唱社团和考古学社团中个性丰富的同学相处后，感受到与同伴们相处的愉悦。 与外表高冷内心热情的神乐苍介、语出惊人难以捉摸的往田诗的邂逅，也让他深刻感受到“音乐”的乐趣。 有笑有泪，偶有争吵。 日子一天天过去，他发现自己身上正发生着从未有过的改变…… 这是讲述少年们努力生活的青春物语。。