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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.。摩根•斯普尔（Morgan Spurlock），一个平凡的美国导演，却绝对可以算是这个国家里最疯狂的家伙之一。在他的孩子即将出世之际，摩根却离开温馨的小家，拉着一队人马来到了远在千里之外的中东，其目标竟然是要找到连FBI和CIA都不知踪迹的奥萨姆•本•拉登！为了让孩子生活在一个安全自由的世界里，他的足迹遍布埃及、摩洛哥、巴勒斯坦、以色列、沙特、伊拉克，与各式各样的人们攀谈询问。对美国人来说谈虎色变如恶魔般的本•拉登，在很多阿拉伯人的眼里却是常人一个。在寻找的过程中，摩根似乎也渐渐触及到东西方文化分歧和隔阂的所在…… 本片荣获2008年墨尔本国际电影节最受欢迎纪录片奖。。