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趣美术馆，法国著名喜剧演员为世界名画带来全新的演绎，展现名画背后的奇闻异事。。因化工厂爆炸一案，陵江省高级人民法院行政庭法官罗远结识了陵江大学环境工程教授夏未冬。与此同时，与罗远因理念不合分道扬镳的法官耿念正在基层法院审理索赔高昂的“化工老板殴打村民案”，牵扯出化工厂偷排污水案情。恰逢省高院副院长曲和平在推进环保司法改革，他有意安排罗远和耿念去帮助因买卖金雕案而深陷舆论攻击的中院刑庭法官林海岚，让三人形成“行政、民事、刑事”三合一审判小组，组成一个全新的环境保护审判庭。 环保庭成立后，三位法官在环境专家夏未冬的帮助下，积极审理陵江禁捕期非法捕捞案、室内装修污染致癌案、非法买卖国家保护动物案、废酸毁林案、陵江非法采砂案、非法倾倒掩埋垃圾案等种类繁多、专业极强的环境污染案件，尝试创新的司法审判理念，最终将不惜以污染江河、破坏环境换取经济效益的化工巨头、大肆逐利的黑恶势力和包庇污染、玩忽职守的政府官员绳之以法。。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.。