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道美索是一个活波可爱、乐于助人的女孩，她和高锡彬是同一所学校高三的学生。学校给在全国论述大赛中取得优秀奖的同学发奖状这天，妈妈千叮咛万嘱咐可美索还是迟到了，为祝贺美索得奖锡彬送给她一个钥匙扣，美索喜出望外。美索的妈妈和锡彬的妈妈是高中同学，两人总是为孩子的学习暗中较劲。在送美索去补习班的路上妈妈也不忘教导美索努力学习，美索自信的说自己一定会和锡彬考上同一所大学。。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.。