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晋阳名伎在大庭广众之下死于一条会自己飞行的红绸之手……鱼兰青遭遇神秘人，被控制了意识。美艳的波斯巫女几次下手，狄仁杰险些丧命，求助于狄仁杰的土豪痴心汉在提供线索后也被诡异的红绸勒死……一切都指向已被灭亡的遥远国度——波斯，谁是敌，谁是友，难辨真假。为救鱼兰青，狄仁杰向“魔鬼”宣战，而这是不可能完成的任务……。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.。