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在从山区前往清迈的长途车程中，Phasut上尉与妻子Namping遭遇翻车事故双双殒命，他们六岁的儿子Tawan因当天未同行而幸免于难。Namping的兄长、咖啡园园主Khunkhao闻讯悲痛不已，迅速操办了葬礼。葬礼上，Phasut的妹妹Thofah代表祖父前来，欲将Tawan带回曼谷，但Khunkhao无法接受让孩子跟随素未谋面的祖父和姑姑生活，而Thofah却决心不惜一切代价完成任务……。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.。Sleep-preacher Maria Åkerblom is going to be sentenced to prison while a orphan girl living with her and her flock falls in love with an outsider.。