母亲的(de )意外去世让汉克不得不回到了印第安纳老家，那里是他的故(gù )乡，却有着他最不愿(yuàn )意回忆起的往事。

钟灿（金柱赫 饰）和妻(⏩)子妍红(🚜)（孙艺(🦂)珍 饰）结婚多年，膝下有(yǒu )一可爱的女儿，两人(rén )男才女貌，在外人眼中是如同神仙眷侣一般的存在。

一个介于分租房和黑社会之(zhī(👦) )间的环(📡)境，妓院(🔸)是艺(yì )术家的工作室，纳粹在街上大肆辱骂，巴贝尔斯堡则梦想着(zhe )制作心理电影。

莉兹(zī )拒绝了即将逝世的丈夫戴维要见儿子的要求，不久(✨)她便告(💔)诉法兰(😷)基，父亲已经逝(shì )世了。

然而，就在秋(qiū )季节日巡游当天，这个人死了，镇上每个人都有杀人动机，但也有不在场证明。

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 Fä(🍓)hmel 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.。

然而(🥞)凶杀案(♍)并不像封建保守的当地居民想(xiǎng )的那样简单，两人逐(zhú )渐发现这是一宗连环少女失踪案，他们面对的很可能不只是一个残忍的凶(💴)手，而(é(🤰)r )是一个(💺)组织。