闯关东前传

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.。漫画家刑智健(姜皓文 饰)从商业大厦出来，即致电给爱儿天行(释小龙 饰)，天行却听到电话另一头的父亲遭遇危险，焦急万分而无能为力。其实，这只是刑智健新作《天行者》的开场序幕，但现实竟与漫画不谋而合，刑智健在他完成新作《天行者》当天离奇被杀，而漫画的其中几页亦被烧毁。具有漫画天份的天行，决定补上缺失的几页，帮父亲完成这本漫画遗作。刑智健的女友嘉嘉(江芷妮 饰)为了找出真凶，主动协助天行。当天行完成天行者时，他终于知道谁是凶手，到底谁是杀人凶手？天行又如何得知？。