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青城大学计算机系本科尖子毕业生李峰，拒绝各大公司伸来的录用橄榄枝，矢志报名参军。顶着来自家庭的压力，瞒着女朋友宋悦，李峰在同班同学都急着和用人单位签约时，偷偷参加部队的招兵体检。本来想给宋悦一个惊喜，却不想让报名参军这事还是从接兵连长的嘴里透露给了宋悦。 李峰顺利通过体检，即将实现当兵的梦想。刚穿上军装的那些日子，李峰不得不面对同学们惊骇的眼神，接兵连长怀疑他故意炒作的猜测，和宋悦的极力阻止。但所有的惊骇、猜测和阻止，在态度坚决的李峰面前都已无济于事。动身前往新兵连那天，宋悦跟她的高中同学——接兵连长达成协议，希望新兵连能把李峰给“训”回到她的身边。 新兵连严格得近乎苛刻的纪律，非但没有把李峰给“训”回来，反倒激起李峰矢志军营、接受锻造、磨练品质、建功成才的信念和决心。凭借这份信念和决心，李峰表现出与众不同的坚韧和顽强。或许是因为李峰身系大学生知识丰...。心理医生敏及其助手迪在回家路上被暴徒伏击，差点惨遭蹂兰，幸好敏机智逃脱，并及时报警才幸免於难。闻讯前来采访的电视记者兼当节目主持瑜并因此与敏成为好朋友。二人希望通过自己的力量和努力去帮助社会上更多弱势和需要帮助的人，以达到惩恶扬善的目的，却没想到正有另一种危险在一步一步地向她们逼近……。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.。