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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.。岳千灵（周也饰）在离职的当天，与暗恋对象，新入职的第九事业部负责人顾寻（林一饰）擦肩而过，为此，她不惜回到公司，对顾寻大胆追爱，顾寻却冷淡以待，甚至当着全校师生面将岳千灵的告白狠狠拒绝......原来，顾寻早已倾心彪悍飒爽的网友“糯米小麻花”。但谁能想到“糯米小麻花”就是岳千灵。最后知道真相的顾寻不得不开启搞笑与心动并存的“反向追妻路”。。