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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.。尖端武器工程师彭森与女友作家林琪相爱多年，然而在两人即将订婚时，林琪却突然留下了一封分手信后不告而别。从种种反常迹象表明，林琪的离去是场阴谋。彭森发现林琪与一个神秘男人去了国外的一个神秘事件频发的三不管地区百慕镇，很多去过那里探秘的人都失踪或者精神失常了，但彭森坚持就算再危险他也要找回他的未婚妻。彭森在寻找林琪的过程中，结识了要去百慕镇探险的户外探险主播胡月和她的摄影尼坤，三人一拍即合踏上了去往百慕镇的探秘寻人之路。 当他们到达百慕镇后，各种神秘诡异的事件也接踵而至，有生命体特征的植物、变异的不死人、具有神秘力量可操控人心智的锥还体、能够使人穿梭平行世界的太极鱼石... ...然而，这些事件与彭森似乎有着某种关联。种种迹象表明彭森找到的林琪并非原来的林琪，随着彭森对扑朔迷离的事件背后调查的逐步深入，真相一点一点被揭开，秘密却越来越深。 彭森发觉身边潜...。