视频简介
薇薇安·迈尔被公认为美国当代最重要的街头摄影师之一，但她却与大画家梵高有着类似怀才不遇的情况，一生默默无闻做着保姆，去世后作品才得到挖掘与认可。本片导演之一的约翰·马鲁夫就是她的伯乐，而这一切，都缘起于约翰2007年在一场拍卖会上无意中买到的大量底片。影片展现了一个寻找的过程，通过各种蛛丝马迹，挖掘藏在背后的动人故事，为我们拼凑出一个薇薇安的完整形象。当然，能够在大银幕上欣赏到那些动人心魄的摄影作品，对于观众而言本身就是一大享受。。网红房屋整理达人可莉·席尔和乔安娜·泰普林，整理一个个杂乱的房间，改变一个个无序的生活。每一集中，她们分别会帮助一个普通家庭，以及一个明星家庭，完成一个个整理任务。。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.。
