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中医学院大四学生宋忆橘，长久以来都是靠助教萧井帮忙水学分，相识多年的二人一直都是互惠互利的关系。然而在一场白昼流星后，萧井却频频反水，让划水少女宋忆橘百思不得其解，拉起小警报。的确，眼前的萧井已是来自未来时空的人，他潜入现实时空，接近宋忆橘的爷爷，伺机偷走其正在培育的一株珍贵草药。不料因穿越使时空造成三个月的偏差，而宋爷爷又将宋忆橘拜托给萧井照顾，一切“阴差阳错”都使萧井十分头大。为达目的，萧井硬撑着勉强社交，却逐渐被明朗少女宋忆橘治愈，找到了内心的解药，可离别却悄然将至……。这部影片讲述的故事发生在巴伦支海附近的小村中，但也可能发生在任何一个个人利益与政权利益发生冲突并且能够提前明确谁会赢得战斗的国家。贪得无厌的市长盯上了尼古拉一家所住的房子，并企图白占那块土地——实际就是强占。市长行为粗鲁，一切都在他的掌控之下，从警察局到法院，他知道如何驯服不顺从的人。。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.。