簡介：加斯荷伯（布魯諾·斯列斯坦 Bruno S. 飾）從小生活在不見天日的地下室里，僅靠稀少的水源和面包維持生命，直到數(shù)十年后，早已成年的他才被帶離地下室，第一次親眼看到了外面的大千世界?？墒牵瑝舨]有結束，他只不過是從一個地獄跌落到了另一個。在人們的眼中，加斯荷伯并非一個有血有肉的人類，只是一個可供研究和玩樂的部件罷了。剛開始，人們對加斯荷伯充滿了好奇，并且，這些好奇里包含了某些惡意。漸漸地，對這個無趣而可憐的物體，大家都失去了興趣，加斯荷伯被送進了馬戲團。幾經(jīng)波折之后，被一名學者收留的加斯荷伯終于過上了平靜安全的生活，學者教會了他讀寫，為他打開了了解世界的另一扇大門。沒想到，加斯荷伯對于文明和文化有著異常敏銳和深刻的見解，面對他尖銳直白的語言，被戳到痛處的人類憤怒了。

簡介：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 B?ll’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 F?hmel 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 F?hmel 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.