介绍：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.

介绍：年轻空姐卡珊卓任职于廉航，每日飞往不同城市却从不观光，只想流连电音派对、沉迷酒精或在交友软体找对象对公司来说，她是无可挑剔的员工；恪遵每条工作指南、达成每项销售目标、答应每次加班要求，甚至不声援同仁的工会活动。但在她耐心对待麻烦乘客，亲切服务倍受赞扬的完美妆容下，却没人察觉她眼底的那抹悲伤。　　双导演对空服员一职细心考究，延请多位航空公司职员出演，以纪录片般的精准度，呈现空服员的专业劳动。阿黛儿艾萨卓普洛斯独挑大梁，继《蓝色是最温暖的颜色》后再展自然纯粹的本色演技，女主角的荒腔走板日常，是卡夫卡式的现代寓言，抑或是寂寞伤痛的另一种诠释？

介绍：After a spectacularly botched spook show, Hui Buh receives a plea for help from the young witch Ophelia. She is trying to keep a powerful spell-book out of the hands of the ruthless witch Erla

介绍：Rosario works as a street seller on the fairgrounds of the suburbs of Naples. His dream to escape poverty latches onto the musical talent of his daughter Sharon. He turns into an impresario to make her a star of the Italian folk music.