在這部嬉笑怒罵的歷史修正主義動畫里，揮舞著鏈鋸的喬治·華盛頓集結了一批惹事生非者，包括熱愛啤酒的塞繆爾·亞當斯、知名科學家托馬斯·愛迪生、優秀馬術師保羅·列維爾和暴躁老哥杰羅尼莫等，想要在美國獨立革命中擊敗本尼迪克特·阿諾德和詹姆斯國神馬影視。誰會笑到最后？沒人知道。只有一件事能確定：他們可不是你印象中的國父。

在一個遠離喧囂鬧事的田園所在，雙胞胎盧卡斯（盧卡斯·施-瓦茲LukasSchwarz飾）和伊萊亞斯（伊萊亞斯·施-瓦茲EliasSchwarz飾）過著無憂無慮的生活，同時每天等待住院的媽媽早日歸最新福利片。這一天，兩個小家伙一身泥濘跑回家中，驚喜地發現媽媽（蘇珊娜·伍艾斯特SusanneWuest飾）終于回來了。只不過媽媽頭上纏著繃帶，幾乎看不清原來的模樣。只不過接下來的一段時間，孩子們發現媽媽態度變得冷淡，言行舉止也有許多怪異的地方，他們甚至認為這并非真正的媽媽。母子間的沖突不斷加劇，媽媽禁止伊萊亞斯和哥哥盧卡斯說話，男孩為此痛苦不堪。究竟是什么讓這個家走向破敗邊緣？究竟是哪里出了問題？

最新成人片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.