81-year-old master, Jean-Marie Straub, once again invents and surprises with his latest film. Kommunisten consists of six parts, five of which have been taken from his earlier works. Straub does not aim to be self-reverential, but instead wants to make different blocks (of text, time, and languages) clash so as to highlight invisible elements of feelings and politics. It is a film about human adventure, from the past century to the one ahead. In this project, all the things that the films of Jean-Marie Straub and Danièle Huillet have been based on for the past fifty years, find their most raw and recent form.

让-玛丽·斯特劳布 (Jean-Marie Straub) 再次选择了切萨雷·帕韦塞 (Cesare Pavese) 的对话《Le Genou d'Artemide》。这不仅仅是任何对话，而是撕开爱与被遗忘者之间痛苦而神秘的深渊的对话。这部电影是一种单一的兴奋和一种单一的冲动，一种对自然的咒语和分散。它从黑暗的屏幕中升起，吟唱着，随着风的低语消失在树林里。它与通常所说的“电影”没什么关系。它的一只脚已经踏入了外面的世界。 大自然的想象力是最有想象力的艺术家的一千万倍。 （让-马里·斯特劳布）简介：《阿蒂米德的膝盖》（Le genou d'Artémide）是一部由让-马里·斯特劳布执导的意大利和法国合拍的短片，于2008年上映。该片根据意大利作家切萨雷·帕韦塞（Cesare Pavese）的同名小说改编而成。故事发生在20世纪50年代的意大利乡村，主人公是一名年轻男子阿尔多（Andrea Bacci饰）。他迷恋着村里的美丽女子阿蒂米德（Dario Marconcini饰），对她倾注了无尽的热情。然而，阿蒂米德却只把他当作一个朋友。故事以阿尔多对阿蒂米德《阿蒂米德的膝盖》（Le genou d'Artémide）是一部由让-马里·斯特劳布执导的意大利和法国合拍的短片，于2008年上映。该片根据意大利作家切萨雷·帕韦塞（Cesare Pavese）的同名小说改编而成。故事发生在20世纪50年代的意大利乡村，主人公是一名年轻男子阿尔多（Andrea Bacci饰）。他迷恋着村里的美丽女子阿蒂米德（Dario Marconcini饰），对她倾注了无尽的热情。然而，阿蒂米德却只把他当作一个朋友。故事以阿尔多对阿蒂米德的迷恋和内心挣扎为线索，揭示了他对爱情的渴望、性欲和自我发现的探索。《阿蒂米德的膝盖》以精细的摄影和富有诗意的叙事风格展现了主人公内心的情感纠结和成长过程。电影通过细腻的画面和表演传达出对于爱情、欲望和个人身份的复杂探索。导演让-马里·斯特劳布在影片中运用了富有艺术感的镜头构图和光影处理，营造出一种梦幻般的氛围。《阿蒂米德的膝盖》是一部短片，但在有限的时间内成功地表达了对爱情和性欲的深刻思考。它以细腻而富有张力的方式展现了人性的复杂性和情感的纠结，让观众思考关于欲望和个人身份的问题。请注意，以上简介仅概括了电影的主要特点，建议您观看电影或查询更多相关资料，以深入了解《阿蒂米德的膝盖》的故事和主题。

《没有和解》是让·玛丽·斯特劳布执导的历史片，Heinrich Hargesheimer和Carlheinz Hargesheimer出演。该片通过三代人的生活将希特勒时代的德国与联邦德国在战后现实做了对比。让-马里·斯特劳布 (Jean-Marie Straub) 和丹妮尔·于耶 (Danièle Huillet) 于 1965 年拍摄的第一部长片的副标题是“只有暴力才能在暴力盛行的地方有所帮助”，暗示了他们严谨的审美所引发的激烈的政治纲领。这部电影以科隆为背景，以海因里希·伯尔的小说《九点半的台球》为背景，他们将小说精简为一些赤裸裸的事件，并以与巴托克装饰配乐的音乐类似的对抗角度进行拍摄。最微妙的线索伴随着故事复杂的倒叙。中年罗伯特·法梅尔向一位年轻的酒店服务员讲述了第三帝国时期的迫害；他年迈的父亲海因里希是一位因当地修道院而闻名的建筑师，他回忆起第一次世界大战的军国主义，当时他的妻子约翰娜因侮辱德皇而招致麻烦。第三代法梅尔正在考虑建筑，就像罗伯特已故妻子的流亡兄弟回来了一样，迎接他们的却是他们的前酷刑者，现在是一名参加战争退伍军人庆祝游行的西德官员。斯特劳布和休莱特让历史的各个层面都以现在时态存在，他们对此做出了严厉的判断。低调的表演和简洁、紧张的视觉修辞暗示了一种道德危机的状态，以及它所要求的回应——无论是风格上还是实质上。《没有和解》(1965年)，是根据海因利希·伯尔的小说

影片拍摄于1967年，是至今为止关于伟大的音乐家巴赫最优秀的影片，片名来源于英国作家同名小说，片中引用的对话、信件都取自巴赫生前的真实文件档案。影片几乎汇集了当时音乐演奏界的精英，如哈侬考特、奥古斯特·温钦格等，具有非常高的史料价值。与我们平日看到肖像画上胖而结实的巴赫完全不同，由著名钢琴演奏家和指挥家古斯塔夫·莱昂哈扮演的巴赫显得瘦小文弱。影片问世后得到了当时影评界的激赏。

The subject of Danièle Huillet and Jean-Marie Straub’s Der Tod des Empedokles (The Death of Empedocles, 1987) is the Greek pre-Socratic philosopher Empedocles (c. 490 BC – 430 BC), who lived in the Greek colony of Agrigentum in Sicily. His theories are mentioned in several of Plato’s dialogues. He maintained that all matter is made up of four irreducible elements water, earth, air and fire. A mystic and a poet, he is considered to be the founder of classical rhetoric. He is also thought to be the last Greek philosopher to write in verse; two fragments of his works survive Katharmoi (Purifications) and Peri Phuseôs (On Nature). An advocate of democracy, he came into conflict with his fellow citizens of Agrigentum and, as result, was banished with his young disciple, Pausanius. When he was asked to return, he preferred to commit suicide by throwing himself into the active volcano at Mount Aetna.　　The German writer Friedrich Hölderlin wrote two versions of Der Tod des Empedokles in 1798 and 1800, and a final third version in 1820, all three ultimately unfinished. They were conceived as five-act tragedies and all three differ in plot. According to Michael Hamburger, Hölderlin’s English-language translator,　　the main reason why Hölderlin finished no version of the play must be that he remained too closely identified with Empedocles, at the very period in his life when his own view of the poet as philosopher, prophet and priest – and as tragic hero – was subject to perpetual crisis and re-examination.　　Huillet-Straub’s The Death of Empedocles is based on Hölderlin’s first version (the longest of the three), whereas Black Sin is based on the third version.

Veteran experimental filmmakers Danielle Huillet and Jean-Marie Straub helmed this unusual adaptation of a novel by Elio Vittorini. Focused on the triumphs and failures of a group of laborers and farm hands who pooled their resources to operate an alternative collective farm after the end of World War II, Operai, Contadini features a cast of 12 actors who read aloud from Vittorini's book for the duration of the film, either reciting from memory or using a clearly visible script. Hardly designed to be a crowd pleaser, Operai, Contadini proved to be controversial among the audiences for its showings at the 2001 Cannes Film Festival, where it was screened as part of the Directors' Fortnight series. ~ Mark Deming, All Movie Guide　　The group makes up a primitive community which seeks to erase not only the distress created by the war but also the hardships of life and hunger, and to protect them from violence, misery and fear. Amid the ruins of this post-war period, the characters build and invent a rapport  both in their professional and daily lives  between themselves, the sexes, generations, diverse social and geographical origins, and antagonistic political camps.　　The group maintains a 'register', a kind of diary, as if it were entering the minutes of an inquiry or a trial. -Steve Grayson　　my favorite Straub-Huillet films are Too Early, Too Late and Operai, contadini (2001), both color landscape films with especially acute senses of place as well as of nature in all its harsh beauty. - Jonathan Rosenbaum

法国导演情侣组合斯特劳布-于伊耶与1991年将索福克勒斯的希腊悲剧《安提戈涅》搬上银幕，文本上采用了德国浪漫主义诗人荷尔德林的著名翻译，版本上则依照布莱希特40年代的改编，拍摄地点是西西里岛上塞杰斯塔的一座古罗马剧院遗址，拍摄时阳光明媚。影片背后文本的多层厚度赋予了本片以极强的现时性：就在拍摄当年的夏天，美军对伊拉克发起了第一轮进攻。这是一部关于教育公民不服从的作品。

一如他曾把卡夫卡小說幾乎「抽象」化，也把巴哈女士日記拍得如此地貼近音樂而非文字，Straub的這種風格，除了執拗地延續像MoulletGarrel這些新浪潮好友的「極簡」手法之外，也算是為自己的「藝術」捍衛的極高體現。　　看來，我還得回頭去看一下Pedro Costa為「我們時代的電影」系列，為這兩夫妻拍的那一集吧，或許，我才真正能向他們更靠近一些（到底是Costa像他們而找他拍，還是Costa本身確實受到兩夫妻的影響，而得到真髓，所以找來對他們最有研究的創作者來拍呢？這我們就不得而知了）？

改编自卡夫卡未完成的长篇小说《美国》，但其关注的并非真实的美国，更像是没有详细年代的关于美国的寓言。卡尔•罗斯曼由于丑闻而接受其舅舅的邀请搬去美国，然而他无法摆脱欧洲大陆旧式习惯，更糟的是，欧洲的阶级结构无法让他通过自己的双手谋生。这一电影版关注资本主义社会创造的残酷而变幻莫测的阶级关系。同时忠于原著而未添加影片的结局。施特劳布夫妇风格的一贯操作与卡夫卡氛围的完美结合：中景固定机位，面无表情的演员，人物肢体和语言刻意僵硬，强调侧面特写，镜头推进及平移刻意突兀。由此我们可以寻求到改编卡夫卡作品的带实验性的可能。

RFA197215‘VOSTF16mm　　d'après « I cani del Sinaï » de Franco Fortini.