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在广漠的西部地区，三个寡妇被迫背井离乡，从而结成了一个搭档团伙。她们为了寻找自己丈夫埋藏的财宝结伴而行。一路上她们遇到了警察的追捕和受到了流氓们的骚扰。在危险的路途中，她们还遇上了印第安人，Pinkerton的代理人。。。。。。女人们为了点亮自己命运的道路，必须鼓起勇气去学着相信，去学着关怀，更要学会为了生存了厮杀。莱利原本是伊利诺伊州的一个快活青年，和女友伊莎贝尔已经谈婚论嫁，身边还有从小一起长大的好友苏菲、鲍勃和格雷。苏菲和鲍勃也准备结婚，而格雷却爱着伊莎贝尔。 战争到来，莱利和其他小伙子一样也参了军，虽然只是到野战医院开车，但目睹了战争的惨烈后，莱利的思想发生了变化。返回家乡后，他一再推迟了和伊莎贝尔的婚事，而理由竟是要花时间思考人生的意义。在伊莎贝尔舅舅埃利奥特的安排下，莱利被安排到巴黎去散心。6个月之后，伊莎贝尔到巴黎寻找自己的未婚夫，却发现莱利住在一个糟糕的地方，虽然心情不错，但她知道他不再可能回到美国做股票经纪人，过富足的生活了。早已习惯了富裕生活的伊莎贝尔摘下了莱利给她的订婚戒指，返回美国后嫁给了一直追求她的格雷。 莱利在巴黎靠干出卖体力的工作为生，他阅读大量的书籍，并因偶然的激励，决定前往印度寻找生命的真理。在印度和尼泊尔的路途中，他的精神得到...。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.。