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讲述师奶何妙玲因为丈夫卖掉房子以两万家用给妙玲然后与另一个女人出走张俊伟因为老婆丁重男与前男友麦基重逢后抛弃家庭妙玲无家可归俊伟收留玲并鼓励玲写作助玲找到生机相处后两人渐生情愫妙玲的工作成功并成为写作专家正当两人感情渐明时玲的丈夫彼树在被人骗光钱财后回来找玲但玲已经爱上了伟无法原谅树当初的狠心此时丁亦发现基与好友偷情回到了伟家居住使伟与玲相互疑心。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.。