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男主回家察觉女主情绪异常，发现遮藏的资料，发现是女主的调职报告（公司给的上升机会，女主想多赚钱为两人未来）。男主误以为女主弃感情，争吵中疑她出轨，拒同去外地。女主怒批他游手好闲后离席。男主道歉，后两人恳谈，男主致歉并拿钻戒求婚，二人互表心意。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.。某夜，云城千金沈之念家中突逢巨变，双亲在她眼前被杀！丈夫救她而亡！她悲痛万分从噩梦中醒来，却发现，殒身于大爆炸的丈夫竟好端端的的出现在她面前？她欣喜万分，而后，她惊觉，不！这所谓的丈夫是那个杀人凶手！。