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凜雪鴉、殤不患、裂魔弦の共闘により魔神化した刑亥を倒したものの、救出すべき浪巫謠は依然魔王城の炉心で悪夢に魘されたまま。 浪巫謠を諦めずにいた嘲風も、禍世螟蝗の手ほどきで神蝗盟の法師・葬心嬌と化し、再び魔界に踏み入れる。 魔王による再来の窮暮之戰で、地上を焼き尽さんと押し寄せる魔界の軍勢を、護印師を先頭に人間たちが迎え撃つ……！ 驚天動地の幻想奇譚、ここに堂々の完結！。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.。

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