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沈曼为家庭操劳十年，意外发现丈夫陆启明竟是富豪，且因白月光及其儿子忽略女儿瑶瑶，让瑶瑶受尽委屈。心碎的沈曼决定带女儿离开并离婚。陆瑶本想给爸爸一次机会，却再次被伤害，遂决心随妈妈离开。陆启明得知真相后追悔莫及...。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.。恬静娴淑的女孩英迪亚18岁生日之际，惊闻父亲理查德死于意外的噩耗。相对于和丈夫一向不睦的母亲伊芙琳，从小和父亲一起打猎的英迪亚自然承受难以排遣的哀伤与痛苦。葬礼当天，一名有着和善笑容却周身散发阴冷气息的男子毫无征兆出现在母女身边。他是理查德的弟弟查理，自称刚刚结束环球旅行赶来。伊芙琳对查理表现出不加掩饰的热情和好感，并主动留查理在家中居住。而英迪亚对这个突然到来的叔叔怀有深深的抗拒与戒备之心。紧张的气氛在这个刚刚失去男主人的家中蔓延，英迪亚一家朝向万劫不复的深渊疾驰……。