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阿诺德•施瓦辛格（瓦莱里）是一个著名笑星，然而身患重病的他已时日无多。嗜酒的瓦莱里在不喜欢医院的拘束和病房外记者的关注，他一个人溜出医院找酒喝。瓦莱里喝酒时被几个小混混发现，他们捉弄他，拍下照片，并把他带到奶奶家开派对，忍无可忍的瓦莱里和他们发生冲突，但又和他们重归于好。瓦莱里的儿子伊利亚一直对前妻卡佳旧情不忘，而卡佳已和富商安东走到了一起。安东因生意不顺要前往纽约，伊利亚希望卡佳能留下来，一番纠结后卡佳决定和安东前往纽约。。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.。