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祸国殃民的十年动乱，改变了千千万万中国人的命运。文化大革命结束后，社会逐渐步入正轨，油头粉面的小青年陈平开着车和女友张朗在大街上飞驰，浪荡不羁。他是革命老干部陈浩的三儿子，陈浩在动乱中受到冲击，饱受折磨。包括陈平在内，他的两个哥哥也都遭到株连。大哥陈战是一名专心钻研业务的医生，运动中被打成反革命发送边疆；二哥陈楠被打成了残废，至今只能拄着双拐行走，却依然坚持英语的学习。 两个哥哥在运动中牺牲了他们的爱情，当一切步入正规之后，他们的感情生活也悄然有了起色。另一方面，只懂得享受的陈平则遭遇了感情挫折。。一间凶屋、一个盲女，婚前打算做激光矫视，怎知带来杀身之祸！ Moon是专门写天师捉妖式恐怖小说的作家，即将与在珠宝公司工作的阿德结婚。Moon近视很深，决心做矫视手术，手术后会有两天不能视物。她打算和妹妹Yan到新居休息两天，再举行婚礼。Yan与众姐妹知Moon会去马尔代夫度蜜月，送她不少古灵精怪的礼物，如木槌与三根尖木钉，当她真是捉鬼天师。Moon按原定计划搬到新屋暂住，由Yan照顾。但新屋地处偏僻，四野无人！ 几名打劫珠宝公司的劫匪与警察枪火对拼后逃到Moon的新屋，劫匪见到Yan正在冲凉，对她诸般凌辱，更起色心，强暴了Yan。Moon听到异声后艰难的爬出来，殊不知Yan已被杀害，并将尸体放置雪柜里。幸得五、六成视力的Moon，早有准备，利用她的结婚礼物在屋中布下陷阱，与劫匪作生死搏斗。Moon的男友阿德闻讯赶来，听Moon讲述所有前因后果后，答应替她报警。Moon后来从豹口中得知自己心爱的男人阿德竟是与豹等是一伙，居然间接杀害了Yan，Moon十分气愤，决定要报复……。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.。