视频简介
Arabella Essiedu本是一位无忧无虑、自信开朗的伦敦女孩，她的文章在互联网上广受好评，被称赞为“她那一代的声音”。正当Arabella的写作事业蒸蒸日上时，她在一家夜店里被人下药性侵，这让她的生活发生了不可逆转的变化。Arabella不得不努力地去面对已经发生的事情，她重新审视起自己的事业、朋友和家人，开始了一场自我发现之旅。。安娜贝拉是一个作家，她最近似乎找不到写作的灵感，她接受了一个邀请，去一个岛上给一些想成为作家的人讲授写作课程。去的路上，司机撞死了一只鹿，到达地点后她和司机又发生了冲突，一切似乎都不是那么顺利。小岛的位置比较偏僻，每天都会有几个小时被潮水封闭，与外界失去联系，而活动组织者以培养写作灵感为由收走了所有人的手机。随后，一系列离奇恐怖的事情开始发生。一个参加活动的年轻人失踪了，活动组织者希望安娜贝拉配合她撒谎，以免引起所有人的恐慌。后面一天的写作课程似乎也乏善可陈，大家言不由衷，似乎每个人都有自己的秘密。晚上，又有人失踪了，恐慌开始在剩下的人群中弥漫。剩下的人开始尝试与外界联系并报警，但仅有的固定电话的电话线被破坏了，幕后黑手把所有人当做猎物。当所有人都被抓住，黑手现出真面目，原来凶手正是活动组织者和她的儿子。安娜贝拉抓住凶手行凶的空当，偷袭了他，并救下幸存的人，然而逃亡中凶手赶来，继续行凶。一番搏斗后，岛上只剩下安娜贝拉一个生还者……。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.。