没有@/和解

　　The s-ubt-$/@itle of Jean-Marie[[+ Str! ; aub and Danièle Huillet’s firs; t fea*@ture, from, 1965, “Only Vi^ ole n,+ce H_ elps Where Violen$)ce Reigns !`:,” )sug\g@ests the fierce polit)]/ica,l p,]rogram:` evoked by:` their rigo(#rous a]\e?,!@stheti[[c.@; The .+pre$text o $f -%]the `?
f;(
ilm, set in Colo$_gn$;#e, is !\=Heinrich Böll’_s nov*%el (_/,[“B]il]li*\ a =rd 
s at Half Past Nine,”@% w
 hich th ;-ey: stri\p dow--n$ to a+!; h:andful of stark e (((vents and film with a confrontatio/nal angularity ak -i;
+n !\to Bar!**t=ók’s m ]us%!ic(* t(hat a@#dorns ^^ the soun-]_dtrack.
 The _^:subtl:+#e`st*@ of cu@es a_![cc=o(;/$mpany the story’s co
!mplex fl.+\ashbacks. The m/:*iddle-ag)+ed Robert Fä/,hme*`[l tel ls a young,*: hot e *,l bellhop-[ + of per;=sec?]ut@_-ions u`.nder ]/t%he Third !#Reich%* his* elde\rly fath@@er, Hei/]`n*:rich, ;an arch(ite!ct famed for a loc[%.al abbey, r^+?ecalls th-e militar]ism o@%f th_ Firs*t World War\[, \when his wife,^
 Johan`,na, incurred troubl;e for# in,$sulting the Kaiser. A third-genera#$tio [)n Fähmel is considering ]arc;^,hitecture, 
just as_ th%(e exile(d$@ bro-`the_#r of Robert’s late wi\f.-@e, r+=eturn.\s, only to be met $-b=y their forme r torturer, no!w a We[st Germ!an offici$al taking part- in a cel/ eb^\?(rat][ ory parade of war vete-)ran,) ]s.  Straub and Huillet make the l[#?aye($r;_s of] his#\=!t-ory li# `ve in the- \pr#esent t$ense, which they judge severely. `
% Th(e* t%$ampe /d-down?  actin;g .!and  the spare,^ tense visual # rhet/\*oric suggest a `state of moral crisis) as w%ell as^ .;the response—as muc(^*/:h in `*s(
tyle as in sub;-stan .ce#—that ,:
it demands.