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故事发生在苏格兰的格拉斯哥，女主人公伊芙陷入了一对音乐家的感情关系当中~~。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.。一串数列，引出埋葬百年的秘密；一本日记，招致各路人马的追寻；一滴血液，显现所有隐藏的暗语。黄金？宝藏？从来不是奔赴的终点；黑暗！死亡！也不能成为阻挡的磐石。从始至终坚定不移所相信的，只有那最初的承诺，和认定的信仰。 男主人公从牺牲战友那里得到黄金宝藏的线索，同时承诺保护他妹妹的安全，于是回到大学校园开始了一段不平静的校园生活。在这过程中，他与同时追寻宝藏的多方黑暗势力展开殊死搏斗。利益驱使下，人性的善恶一目了然，故事线索环环紧扣，引人入胜。。