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影片讲述的是一位时尚冒险的美丽少女赵苓在奶奶生命弥留之际，在奶奶病危的喃喃话语中，意外的发现了一个埋藏了50多年的的绝密天机，它唯一的线索就是一个刻有“高峰山1949”的黑犀牛角卦。她顺着线索找到了高峰山的古道观八卦迷宫，却并不知道，前一天这里刚刚又有一个探宝者魂归西天了。经过一番周折，她终于走进了道观，从而引出50多年前解放前夕，发生在这所古道观八卦迷宫里的一段悬疑、曲折、惊险的悲情往事：她和他之间到底发生了什么？他在进退两难、生死攸关之际究竟走入了哪道“门”，牛角卦是否暗藏天机，迷宫的宝藏到底在哪里。。。。。。。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.。