137号案件
2.0 |03月22日 11:00 |HD中字
简介:

  「为什么大家讨厌警察?」男孩询问母亲。身为警察的史黛芬妮,负责的却是警察暴力与失职案件调查。2018年,一名青年随亲友来到巴黎参与街头抗议,却因警方开枪,导致永久性脑部损伤。家人提出指控,警方却矢口否认,关键证据亦是不足。内外压力夹攻之下,史黛芬妮仍奋力调查,调阅摄像头比对、还原警员动线,越逼近真相之际,同僚的敌意也越发强烈⋯⋯

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简介:

  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.

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