22 年前
搜影视
海伦•哈瑞思（凯特•哈德森饰）深得模特公司老板的厚爱，时尚美丽的她懂得如何享受生活。可是，姐姐琳赛（菲丽西提•霍夫曼饰）夫妇的突然离世，把三个分别只有15岁、10岁与5岁的孩子托付给海伦抚养。 面对可怜的孩子们，海伦努力习惯被改变了的生活，尽力做好监护人应做的事。可是她发现，自己以往繁忙的工作与长时间照顾孩子是互相冲突的，更导致了她失去了她喜爱的事业。与孩子们的相处与教育上，她也遇到了困难。 这时海伦把孩子们安排到了同一所学校就读，也幸好得到校内牧师丹（约翰•科比特饰）帮助海伦解除困境，两人也在这时候发生了感情。 到最后海伦是否能担当好监护人的角色？她与丹的感情又能否更进一步呢？。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.。
