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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.。11位怀揣不同目的，来自不同行业，不同身份的人参加一档名为“MAFIA”的现场直播电视真人秀节目，这档备受全球瞩目的电视节目将这11个人设定成为9位平民和2位杀手，要求9位平民在规定时间内找出隐藏在他们中间的两位杀手。节目规定所有参赛者每轮可以怀疑并指认一名杀手，被指认的人不管是不是杀手，都将被强制带入自己的梦境，在梦中被自己最害怕的东西杀死，死亡过程也会在全世界直播。而杀手也可以在每轮结尾强制杀掉一位平民，如果两名杀手被顺利指出，幸存的获胜者将得到巨额奖金，足以一 生享用不尽。为了财富，参赛者们相互怀疑，勾心斗角，意图用尽一切手段将其他对手置于死地，一场杀戮大赛悄然上演……。十九世纪初鸦片流入中国……清朝道光年间，湖北广济的杨际泰出身医学世家。父亲杨少山是当时名医，那个时候，鸦片烟已经相当厉害，官府与洋人勾结坑害国人，志在研制戒毒药的老先生在城里呆不下去，不得已回到乡下，一边治病救人一边研制。在儿子科场失意决定继承自己衣钵后，竟然以身试药，吸食鸦片烟，最后也没有成功，含恨离去。民间有“南有林则徐断绝毒源，北有杨济泰解除病根”的口碑。杨际泰义无反顾地担起了研制戒毒药的重任，为了根除烟毒，他历尽千辛万苦。由于从根本上影响了洋人和岳海山的“生意”，一再遭到陷害，几度入狱，受尽折磨，妻子和女儿相继被害，仍矢志不移。最后虽然得以报仇，但由于清政府腐败无能，鸦片战争失败，投降派得势，力主禁烟的林则除被撤职查办，杨的医馆自然不能幸免，被查封，耗尽毕生心力研制出的戒毒药也不幸夭折。。