视频简介
青年阿朗投身奥斯卡公寓，备战艺术大学即将到来的入学考试。然而这幢公寓阴气逼人，恶灵横行，阿朗的朋友全吓得不敢靠近，只有他自顾自在此居住。某天，阿朗邂逅童年时代暗恋的家庭教师布葩，深埋心中已久的爱恋再次复萌。但是布葩态度既冷淡又诡异，令阿朗始终摸不到头绪。 另一方面，公寓内一男子被人神秘杀害，尸体却能自由行动，吓坏了前来调查的警局副队长和巡佐。回警局后，他们接到新的任务，要配合香港警察姜大卫闯入奥斯卡公寓端掉这里藏匿的赌博窝点。副队长和巡佐硬着头皮返回，结果看到满身是血的小女孩在此大开杀戒。奥斯卡公寓经历了最为恐怖的猛鬼之夜……。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.。
