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最坏的恶棍组成的致命疯狂派对降临异界 ！！！ 最危险、最离奇的奇幻冒险揭幕……！！！ 异世界舞台上的死亡狂潮！ ！ 不同的反派世界， “流氓”幻想盛大开幕！ ！ 哈莉·奎因、小丑、DC 漫画坏人却在异世界！ ？ 敢死队=自杀小队在ISEKAI的舞台上横冲直撞！ ！ 无双！ ！ 来自日本的全新原创动画， 以最强阵容呈现给世人的最疯狂异世界“暴力”奇幻盛大开启！ ！。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.。