简介
从事高风险投资的安迪最近因为投资失败，手上资金不足，竟打算与弟弟汉克一起到郊外打劫一家珠宝店。而店主正是安迪兄弟的亲生父母。两人计划好后，以为自己已选择了恰当的时机下手，怎料途中发生了意想不到的以外。
他们的家庭表面上和睦美满，但实际上家人都各怀鬼胎。身为父亲的查尔斯本想以身作则教育好儿子，怎料儿子却这样不争气。另一方面，汉克却与安迪的妻子有着暧昧的关系。而随着安迪与汉克打劫自家的计划开始，家中一件件不见得光之事也被各人发现了……。1633年，德川幕府颁布锁国令。在此之后，拥有外国血统的孩子都无一例外受到本土民众的歧视。拥有蓝色双眸的阿水是一名混血儿，母亲为了保护她让她从小隐藏性别，躲在屋中，避免伤害。谁知，阿水的母亲依然没有逃脱戕害的命运。成为孤儿的阿水饱受村里人欺侮，直到某天一枚陨石改变了他（ 她）的命运。阿水帮助锻刀的盲眼老人将陨石运回了家，从此便在老人的家中住下，并且学会了锻刀以及剑法。此去经年，弱不经风的少年成长为翩翩剑客，他辞别老人，带着陨铁打造的武士刀，踏上了向抛弃母亲和自己的男人复仇的道路。 大雪纷飞，许多人的命运将因此改变……。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.。