□□e □ubt□tle of □ean□□arie Strau□ a□d Danièle Huille□□□ first fe□□□□e,□from 1965,□“□n□y Vio□enc□ Hel□s Where Violence Reigns,”□□u□g□s□s the f□erc□ polit□ca□ pr□gram□evo□e□ by the□r rigor□□s aesthetic. T□□ pretext □f t□e□film, set in C□logne, i□ Hei□ric□ □öll’s no□el “B□□liards at Half Past□Nine,” wh□c□ t□e□ strip down □□□a h□n□□ul□o□ stark□ev□nt□ and film wit□ a confr□ntati□nal angulari□y□akin□t□ Bartók□□ music □hat□ador□s th□□s□undtrack. The sub□le□□ □f cues accompany the□stor□’s complex flas□ba□ks. T□□ □iddle-age□ Ro□□rt Fähmel tel□s a you□g □o□el b□llhop of□p□□□ecutio□□ und□r the Thi□d Reich; his e□d□r□□ father, He□nri□h, a□ arc□□te□t f□med□for a□□o□al abbey, r□calls the mi□it□rism□of the □irs□ □orld □ar, when his wife□ Joha□na, inc□r□ed trouble f□r i□sulting th□□K□iser. A th□rd-□□n□ration Fähmel is □o□sidering architecture, just □s the exil□d bro□her□of Robert’s late wife, ret□rns,□onl□ □o be met□by thei□ former tort□r□r□ □o□ a Wes□ G□rma□□official taki□□ part in□a celebrator□ parade of□war □e□erans□ St□aub □nd Huillet make □he l□yers of history liv□ i□ t□e pr□□ent tense, which t□□y judge □everely. □he tamped-down□□cting and the□sp□re, □ense vis□al rhe□oric su□gest a□state of □oral cr□sis as well□as the resp□ns□—as much in st□□e□as in substance—□hat it demands.“玄武老爷爷□🎌),我知道我(🆖)的斤两,我天生就不是一个强大的□□。要是我真是一个强□的生灵,我□不□于被一个漩涡就弄到(🐙)这里来了。还有,要(💬)是我真的□够强大(😔),我也就不□于会还斩杀不了焉□了。□建房的地点□在田□边,并不属于农田用地,对比起田泥,还(📎□□要结实许多的。两米深的□□三个(💑)人挖,并用不了多久,十二个坑很快挖□,统一的两米深□不多不少,□了完(□)成不了任务,多了要扣钱。
Will mix Archie with dramatization and explore key moments in science genius Einstein's let, and how his work change history's course. Everything he says in the film is taken from words he said or wrote.