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丁常旺（郭晋安饰）本来是大富人家宝庆丰（元华饰）九代单传的儿子，由于阿旺是庶出，原配十分妒忌赶走了已怀孕的旺母。庆丰的侄子大富对叔父的财产虎视眈眈，先发制人把旺母杀死，阿旺则被打成失忆，大富找来了孤儿（曹永廉饰）充当包家少爷包继宗。 旺保住了性命，却变得傻傻的，流落到了乌龙镇，被米珠莲（卢宛茵饰）误以为是自己失踪的儿子。莲曾私下与柳湘湘（陈秀珠饰）为儿女订下了婚约，湘却把自己的继女彩凤嫁给了傻仔阿旺，把自己的亲生女儿嫁给了包继宗。 原来在阿旺还没有失忆之前，他已有了未婚妻杨佩君（杨婉仪饰），当佩君辗转找到了阿旺之后，只好夹在了阿旺与彩凤之间。此后两名女子更发现了阿旺的身世扑朔迷离，合力查找阿旺身世的真相……。吉迪恩（铃木崚汰配音）因为跟不上大部队战斗的节奏，而遭到了贤者阿雷斯（八代拓配音）的驱逐，阿雷斯和队友们谎称吉迪恩是自己离开的。离开之后，吉迪恩以雷德之名开了一家药店，自己兼顾采药和卖药，这样安稳的生活对于他来说，似乎也是一种不错的选择。 一天，雷德的老相识莉特（高尾奏音配音）突然拜访了雷德的药店，原来，她从种种渠道得知，雷德正是当年失踪的吉迪恩。慢慢的，莉特留在了药店里，一边帮忙工作，一边展开了和雷德的同居生活。之后，雷德的妹妹露缇（大空直美配音）、雷德曾经的战友亚兰德拉拉（雨宫天配音）也纷纷出现在了雷德的身边。。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.。