视频简介
这部作品是《柏林苍穹下》的姐妹篇，故事的重点从上一集里誓要变成凡人的丹尼尔转到了他的同伴卡西奥身上。卡西奥也想变成凡人，虽然他可以知道人类的想法，可以知道他们的生活哪里出了问题，但是他却不能对此这些人的生活有一点帮助：卡西奥为此深感挫败。卡西奥看到以前的搭档丹尼尔现在成了一间匹萨店的老板，和妻子玛瑞安过着幸福的生活。变成凡人的卡西奥经历了人生的疾苦，迷失在生活中，但是内心的纯洁助他重拾希望。在朋友的帮助下，他们一起摧毁了黑帮分子成堆的色情录影带和枪支弹药库，因为它们是色情和暴力的根源。就在大家欢欣鼓舞的同时，他们被一伙黑帮分子劫持，卡西奥为了救小女孩而被枪杀。 大家获救了，而卡西奥的灵魂重新回到了天堂。。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.。
