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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.。里花（上户彩 饰）是一名女编辑，眼睁睁的看着年龄直奔三十岁而去，感情生活依旧一片空白的她感到十分的焦急。里花拥有一副天真可爱的长相，个性亦是温柔贤惠，可即便拥有如此优越的条件，在爱情的战场上，里花仍然节节败退。 一次偶然中，里花遇见了一名四十岁的神秘男子，男子告诉里花自己名叫博（内野圣阳 饰），是从十年后穿越而来，而他在十年后的身份，竟然是里花的丈夫。博此行只有一个目的，那就是告诫十年前的里花，千万不要和自己结婚，这其中究竟发生了什么，里花一头雾水。没过多久，里花果然遇见了三十岁的博，令里花没有想到的是，自己竟然深深的坠入了情网之中。。