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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.。关正康是古惑仔一名，女朋友与他社团大佬有染，情绪郁涩，决定向大佬报复，然后逃往泰国。在飞机上巧遇神秘的Sam，便一同往泰国。抵达后，康与Sam无故被人袭击，混乱中康与Sam失去联络。原来Sam是Yoyo派往香港偷取苏联军事晶片的手下，为保晶片顺利运送，Sam不惜将晶片弄到康的体内。 另一方面，泰国将军猜逢亦对晶片虎视眈眈，猜逢向康等展开连番追杀，康与Sam在患难中产生爱意。Yoyo决定与卖家进行交易，但猜逢要置Yoyo于死地。SAM得知一切，准备只身独往营救Yoyo……。残疾女孩江萌与年迈的养母相依为命，为了不让养母流落养老院，江萌进城打工，没想到在医院碰到了与自己同病相怜的无肛女婴，引起了江萌的怜爱。江萌发现，无肛女婴的父亲匆匆带出医院，意图放弃治疗。就在无肛女婴生死存亡之际，江萌踏上了拯救生命的征程，到处打听孩子的下落，在这个寻找的过程中女护士的身世之谜也逐渐被揭开。。