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一名大学辅导员正在调查一名雄心勃勃的大学生的失踪案，该学生因难以支付学费而停止上课。。顾人齐（刘以豪饰）因为童年时代的悲惨经历而患上了洁癖症，同时性格也是非常的孤僻。是双娇（沈月饰）虽然成长在一个幸福美满的家庭之中，却因为母亲的不幸过世而陷入了绝望的情绪里。两人在一家保洁公司里是上下级的关系，随着对彼此了解的加深，两颗伤痕累累的心开始彼此靠近，彼此温暖。 在顾人齐的鼓励和陪伴之下，是双娇逐渐开始接受母亲的离开，正视这命中注定的残缺，可就在这个节骨眼上，是双娇震惊的得知，母亲的死并非意外而是人祸，这背后的罪魁祸首很有可能就是顾人齐的爷爷。在良心的谴责和折磨之下，顾人齐主动提出了分手。。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.。