肌肉男的大鸟

1986年4月26日凌晨，位于乌克兰苏维埃社会主义共和国普里皮亚季的切尔诺贝利核电站发生了严重的爆炸事故。瓦列里·列加索夫，作为一个杰出的苏联核物理学家，成为了处理这场事故的应急小组的一员，同时也成为最先了解并着手组织处理这场事故的负责人之一。苏联部长会议副主席、苏联能源局领导鲍里斯·谢尔比纳在事故发生数小时后，被指派领导事故调查委员会，但当时政府还没意识到反应堆已经爆炸。作为这史无前例人为灾难的高级应对官员，他发现自己身陷政治体系问题，以及得面对这场核灾难不停攀升的伤亡人数。苏联核物理学家乌拉娜·霍缪克致力于调查切尔诺贝利事故的真相，好让未来不会再发生同类事件。但在调查期间她与想埋葬可怕秘密的人产生了未曾预料的冲突，为了真相她得冒着失去自由，甚至生命的危险。。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.。