视频简介
1949年，解放战争进入最后的关键时刻，随着中国人民解放军的逼近，国民党仓皇百逃台湾。国民党国防部保密局直属特别勤务处少校参谋邓家骥及其妻子沈荷（张歆艺 饰）正是这败逃大军中的一员，他们的真实身份是中国红妆情报小组的成员，为了继续从内部瓦解敌人，二人不惜随军前往台湾。谁知最后关头突发变故，沈荷留在大陆，夫妻被迫天各一方。 不久之后，新中国建立，盘桓上空近百年的阴霾散去，但是败北的实力仍蠢蠢欲动，时刻蓄谋颠覆新政权。此时的沈荷以医生的身份在宁阳医学院附属医院供职，而当年国民党的特务也化身工人混入医院，觑准一切机会制造混乱与恐慌。在和平的背景下，新一轮的角力由此展开……。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.。
