片名:《沒有和解》

類型:劇情片

上映時間:1965

上映地區(qū):其它

導(dǎo)演:讓-馬里·斯特勞布,達(dá)尼埃爾·于伊耶

主演:Heinrich,Hargesheimer,Carlheinz,Hargesheimer,Martha,Staendner,達(dá)尼埃爾·于伊耶,Henning,Harmssen,Ulrich,Hopmann,Joachim,Weiler,Eva-Maria,Bold,Hiltraud,Wegener,Ulrich,von,Thüna,Ernst,Kutzinski,Karl,Bodenschatz,

集數(shù): 更新至0集

語言:其它

【同輝影院】分享劇情片沒有和解全集在線免費(fèi)觀看高清720P播放地址，沒有和解講述了一個普通而不平凡的故事，由沒有和解的演員Heinrich,Hargesheimer,Carlheinz,Hargesheimer,Martha,Staendner,達(dá)尼埃爾·于伊耶,Henning,Harmssen,Ulrich,Hopmann,Joachim,Weiler,Eva-Maria,Bold,Hiltraud,Wegener,Ulrich,von,Thüna,Ernst,Kutzinski,Karl,Bodenschatz,實(shí)力演繹，不管是微表情還是表演動作上，把角色都塑造得非常成功，每個角色都有自己鮮明的個性，讓觀眾們能夠更好地融入到劇情之中。沒有和解是1965年上映，非常好看的電影。

《沒有和解》觀后點(diǎn)評：電影沒有和解真是太好看了！沒有和解劇情緊湊扣人心弦，每一個轉(zhuǎn)折都讓人捧腹大笑，同時又讓人熱淚盈眶；沒有和解的音樂選材旋律優(yōu)美，不僅完美地融入到劇情當(dāng)中，還增加了劇情片沒有和解的劇情氛圍，絕對值得一看。

《沒有和解》抖音網(wǎng)友點(diǎn)評：沒有和解的臺詞設(shè)計非常精彩，讓觀眾印象深刻；沒有和解的演員Heinrich,Hargesheimer,Carlheinz,Hargesheimer,Martha,Staendner,達(dá)尼埃爾·于伊耶,Henning,Harmssen,Ulrich,Hopmann,Joachim,Weiler,Eva-Maria,Bold,Hiltraud,Wegener,Ulrich,von,Thüna,Ernst,Kutzinski,Karl,Bodenschatz,個個演技精湛，從對劇情的精準(zhǔn)把握到表情和動作的發(fā)揮上，都契合了沒有和解的故事主題，既滿足了觀眾們對于劇情的期待，又給人留下了思考的空間。是1965年值得一看的電影。

沒有和解講述了：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 B?ll’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 F?hmel 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 F?hmel 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.