民间故事120篇

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.。午夜黑暗房间，镜前点蜡烛占卜，穿红衣削苹果，如皮断了，将在镜里看到不干净东西。本身对镜子有心理阴影的少女姗姗，被她的同学拉去参加一场恐怖的镜子游戏，不慎削断果皮，受镜中不明事物惊吓不省人事，数日没有苏醒，身体开始发生异样地扭曲。姐姐为唤醒弥留的妹妹，参加一个能进入沉睡者脑中意识空间的恐怖实验，在极度恐怖的意识异境中寻找迷失的妹妹…。