片名：没有和解

别名：没有和解免费在线播放

电影类别:剧情片

发行年份：1965

首映地区：其它

导演：让-马里·斯特劳布,达尼埃尔·于伊耶

演员：Heinrich Hargesheimer,Carlheinz Hargesheimer,Martha Staendner,达尼埃尔·于伊耶,Henning Harmssen,Ulrich Hopmann,Joachim Weiler,Eva-Maria Bold,Hiltraud Wegener,Ulrich von Thüna,Ernst Kutzinski,Karl Bodenschatz,

更新时间：2024-01-10 01:23

《没有和解》该片自上映后，口碑爆棚，能否成为年度最佳剧情片？

《没有和解》该片自上映后，口碑爆棚，能成为年度最佳剧情片。《没有和解》往往可以变成在今年的电影中用户评价有名的电影，直接原因是《没有和解》整部著作自身足够好，不论是艺人Heinrich Hargesheimer,Carlheinz Hargesheimer,Martha Staendner,达尼埃尔·于伊耶,Henning Harmssen,Ulrich Hopmann,Joachim Weiler,Eva-Maria Bold,Hiltraud Wegener,Ulrich von Thüna,Ernst Kutzinski,Karl Bodenschatz,的呈现、让-马里·斯特劳布,达尼埃尔·于伊耶拍摄技巧，或是电影情节和现实感，全是非常出众的，取得好口碑：3.0分其实也很正常。《没有和解》的艺人Heinrich Hargesheimer,Carlheinz Hargesheimer,Martha Staendner,达尼埃尔·于伊耶,Henning Harmssen,Ulrich Hopmann,Joachim Weiler,Eva-Maria Bold,Hiltraud Wegener,Ulrich von Thüna,Ernst Kutzinski,Karl Bodenschatz,尽管说不是非常有名，但是Heinrich Hargesheimer,Carlheinz Hargesheimer,Martha Staendner,达尼埃尔·于伊耶,Henning Harmssen,Ulrich Hopmann,Joachim Weiler,Eva-Maria Bold,Hiltraud Wegener,Ulrich von Thüna,Ernst Kutzinski,Karl Bodenschatz,的表演很好，可以把观众们带到到小故事中来，让粉丝有一种窒息的感觉，相比这些帅哥的表演Heinrich Hargesheimer,Carlheinz Hargesheimer,Martha Staendner,达尼埃尔·于伊耶,Henning Harmssen,Ulrich Hopmann,Joachim Weiler,Eva-Maria Bold,Hiltraud Wegener,Ulrich von Thüna,Ernst Kutzinski,Karl Bodenschatz,的表演真是能够称之为高手，因此大家喜欢这部剧情片。

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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.