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.。村民们要参加一年一度的蔬菜大赛啦,他们培育出来的蔬菜超级棒,不料却招来了害虫——野兔的骚扰。野兔身材高大,神出鬼没,村民们一筹莫展,唯有请来捉兔专家华理士。当然,华理士的爱狗勒密特也在捉兔队伍之列。华理士和勒密特设计出各色各样的捉兔工具,村民以为大可放心时,华理士却犯了一个严重的错误:他竟然错误操作机器,让自己和野兔的思想发生对调,闹剧更加轰轰烈烈。互换了身份的华理士和野兔,如何让自己回到原来的世界,而野兔就注定要被除掉吗?。25岁的盲盒设计师小透明“苏暖暖”在生日这天惨遭加班+误解+分手的重创,她许下了希望得到完美男友的生日愿望。失落至极,她走进盲盒店,买下了角落里其貌不扬的盲盒。自此,她走上了奇幻的盲盒男友之路。。