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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.。通缉犯陈桂林在逃亡藏匿中失去最后一个亲人，同时得知自己只有不到三个月的生命。万念俱灰的他原打算投案自首，可是当发现他在三大通缉犯中仅仅排名第三时，内心突然躁动起来。在此之后，他决定仿效古时候周处除三害的故事，临终之际要在江湖上留下他的传奇名号。通过地下医生张贵卿，陈桂林找到了分别排名第二和第一的香港仔和牛头的线索，随后踏上征途。贪嗔痴，三毒熬煎，红尘混沌之人，被业障缠绕，永远无法跳脱因果轮回…… 电影引用的“周处除三害”典故，见于《晋书·周处传》和《世说新语》。。为了控制驰骋在美国边境地区的野马数量，每年美国政府都会抓捕一定数量的野马送往各监狱，实施野马计划，由犯人驯服野马，进行社会拍卖，无法驯服的马匹将被处以安乐死。因冲动重伤妻子的罗曼（马提亚斯·修奈尔饰）在北内华达州监狱服役。当年因无法控制情绪而铸成大错，罗曼一直觉得愧对自己爱的人。他的自闭、悔愧、愤怒，正因为他不是真正的恶人。罗曼和桀骜不驯的野马在北内华达州监狱相遇，他们境遇相似，皆被囚皆愤怒，也都无法控制自己的怒火。这匹马是被抓捕的野马中性子最烈的一匹，被单独关在棚屋。罗曼与野马相处后，给马起个叫马库斯的名字。马库斯能听懂罗曼的话，信任他，愿意被装上马鞍。正是通过与野马马库斯的朝夕相处，也让罗曼这个本来不再关心一切的冷漠者慢慢找回了作为人的温情。。