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很多年前,在很远的岛上,生活着一只太阳鸭,他保护着他们的土地,确保每一寸土地都能照到阳光,滋润万物生长,不受到邪恶力量的威胁。直到某天,争夺地盘的绿头鸭和企图利用太阳鸭神奇能力保持自己年轻美丽的女巫婥特到访,小岛的平静就此打破。紧急时刻,为了保护光明和太阳,太阳鸭家族和绿头鸭战队携手作战,破坏了女巫婥特的阴谋。。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.。