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新娘元如意在洞房花烛夜全家被杀，自己被一蒙面人救出。一年后，如意在消息贩子包大庭口中得知，父亲为救百姓当年杀死了一个贼寇，贼寇之子铁背驼爷为报父仇血洗元家。在包大庭的帮助下，如意寻找敌人的弱点，一个个铲除了铁背驼爷的爪牙。铁背驼爷设了圈套抓到了如意，包大庭拼死相救，此时如意才知道，包大庭就是当年那个救出自己的蒙面人。而包大庭向如意坦白，自己曾经把元家的信息卖给铁背驼爷，事后知道实情后悔不已。如意宽恕了这个既害过自己又救过自己的人，只身面对与铁背驼爷的决战。如意就像一个顽强的战士，最终取胜。就在刀斩仇人时，她看到了驼爷的孩子。冤冤相报何时了，仇恨就像无底深渊，而如意不愿永陷深渊之中，止杀离去。。民国初年，一名“编外巡警”范吉安为寻求转正机会，与“街溜子”小榔头联合制造假案，不料陷入老警长被害等多起连环凶杀案中。在警方的探查下，范吉安不仅晋升无望，他与小榔头的杀人嫌疑越发深重，接二连三的凶案彻底打破了狍子岭的安宁，二人历尽磨难，最终破解了连环凶案之谜并逮捕了真凶的故事。。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.。