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制作人奖：卓在勋《我家的熊孩子》&《脱鞋恢单4MEN》 放送作家奖：姜胜熙《脱鞋恢单4MEN》、徐仁熙《环环相扣的老故事》、赵惠贞《裴成宰的10》 名誉社员奖：李尚敏《我家的熊孩子》&《脱鞋恢单4MEN》 抢镜奖：林元熙《我家的熊孩子》&《脱鞋恢单4MEN》、郑慧仁《射门的她们》 人气奖：《射门的她们》第3季队长团&裴成宰 Social Star奖：任昌丁&徐夏妍《同床异梦2》、柳贤珠《结伙072》 SBS的儿子/女儿：金俊浩/李贤伊 Ecobrity奖：金炳万《丛林生存法则》 最佳角色奖：李敬揆《结伙072》 最佳男/女新人奖：河锡柱《可爱的教父》/ 尹泰珍《射门的她们》 最优秀奖（谈话/真人秀）：金俊浩《我家的熊孩子》&《脱鞋恢单4MEN》 最优秀奖（表演/体育）：李贤伊《射门的她们》 优秀奖（谈话/真人秀）：许景焕《我家的熊孩子》 优秀节目奖：...。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.。