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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.。《红警》是一部宣传公安干警、弘扬社会正气、惩恶扬善的电视连续剧，全剧讲述湖城刑警队侦破11个离奇案件的过程，展现新时代刑警们的风采，侦破情节跌宕起伏，一波三折，扣人心弦，艺术品质与时代话题相结合，体现尊重法律、追求正义的主题，对社会上丑恶现象和犯罪行为进行无情的抨击和反思。淫欲、贪婪、嫉妒、愤怒，一个错误则可以毁掉你的一生。情杀、女大学生代孕杀人、虐待动物和网络暴力、阴婚、乱伦、青少年犯罪、性骚扰、明星吸毒等刑事大案，桩桩件件都深刻暴露了社会上的丑恶现象，对犯罪行为进行无情的抨击和反思。。