苏子安在丈夫林彦哲离世后,因思念与容貌像亡夫的宋浩结婚。但宋浩贪婪,纵容情人付圣娜,还杀害爱犬、踩碎珍贵戒指。苏子安清醒后与他决裂。宋浩被赶走后,林彦哲幸存的秘密曝光。。民国初年,杨城的大地主奴老爷准备把自己的女儿天良嫁给城里的米行老板曾家,可是曾家的大少爷曾光汉拒绝迎娶大脚的天良,刚从东洋留学归来的曾家二少爷曾光年嘲笑父兄和家人的迂腐,高调宣称自己非大脚女人不娶!得到悔婚消息的奴老爷领着长工土根等人大闹曾家,两家从“亲家”变成了“冤家”,被退婚的奴老爷把天良嫁给富农陈贵的儿子大弟,换取他们家的五亩“天字号”良田,利用良田产出的珍珠米,最终击垮了曾家的米行。但是与大弟并没有爱情的婚姻又让天良陷入另外的漩涡。曾家二少爷逐渐对天良情有独钟,二少爷曾光年留洋的同学叶书琴虽然对他暗生情愫,但是过于熟悉的两人一直难以成为情侣,进步的叶书琴投身革命。历经北伐、抗日战争、解放战争等几十年的沧桑巨变之后,天良与曾光年最终牵手。。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.。