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6 年前
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21世纪大学生苏梅梅从小在爷爷身边长大，常常听爷爷讲红军长征的故事。爷爷每每提起自己牺牲的哥哥，总是忍不住摇头叹息。在苏梅梅毕业之后，她的爷爷病重，她回到老家看望爷爷，继承了爷爷开的胜利超市。因为一次意外，胜利超市绑定了万界超市系统，想起爷爷临终前还在念叨的哥哥，苏梅梅毅然将超市开在了长征路上。开超市的这段时间，苏梅梅见识到了红军长征路上种种艰险与不易，意识到自己如今平凡幸福的生活，都是他们的流血牺牲换来的，自己应当更加珍惜眼前拥有的一切，好好生活。。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.。
