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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.。任浩铭被弟弟任浩轩陷害失去双眼，父亲病重的阮清恬被迫替双胞胎妹妹阮心心跟任浩铭订婚。眼盲的任浩轩将阮清恬当作女仆呼来喝去，但日日相处让两人渐渐打开心扉。任浩轩在阮心心的帮助下，诬陷任浩铭出卖公司，任浩铭被扫地出门。同样被家庭抛弃的阮清恬把两人的小日子过得温馨。但任浩轩仍要赶尽杀绝，危急关头二人被助手阿松救下。任浩铭揭穿了任浩轩嘴脸，任浩轩恼羞成怒下伤了哥哥。结果任浩铭的眼睛眼部神经因此可能复明。失去靠山的阮心心绑架阮清恬，装成阮清恬出现在任浩铭身边。阮清恬努力逃出，化名Olivia以黑马之姿杀入珠宝大赛决赛，当众拆穿阮心心。其实任浩铭早就知道眼前的人不是自己的爱人。两人修成正果。。