视频简介
“I don’t think any of this would have happened if I have a very traditional mum.” 少年廚神Flynn McGarry 的Instagram簡介中，只有一句「I Cook」。他自幼享負盛名，憑廚藝獲選為30位最具影響力的青年，但在社交媒體上卻相當樸實，只有碟碟料理的照片，他的世界，的確就只有廚藝。 10歲的Flynn McGarry為逃避母親的「料理」，在臥室架設廚房，跟隨名廚Thomas Keller 的經典食譜鑽研烹飪。12歲舉辦快閃餐廳，卻被質疑年紀太輕配不上主廚稱號。於是他再以多年的努力，躍過小時了了的時期，在曼克頓跟隨Eleven Madison Park星級主廚Daniel Humm學藝。在去年Flynn McGarry以19歲之齡在紐約開設首間餐廳，在競爭激...。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.。
