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四个异想天开的少年认为这个世界得了癌症，而人类就是这个世界的癌细胞。他们决心要为伤痕累累的地球治病，用自己的方式消灭地球的癌细胞——人类。但谁都没有想到，他们的做法竟然是…… 一位上班族刚刚参加完自己的升职派对正要回家，却偶然发现一家礼品商店。这件商店专卖送给仇人的礼物，以陷害仇人，甚至取他性命。而这位上班族在店内被告知，已经有别人买了送给他的仇人礼物。那位恨他的人到底是谁，而升职之后所收到的礼物中有哪一份会让他丧命？ 三位强盗成功抢劫后，赶着回家分赃，却在途中遇到警察。于是三人不得不躲避到一家已经荒废的旧医院。三位劫匪天不怕地不怕，只信手中之枪，谁知医院中的某人或者某种东西正在用恐怖的事实推翻他们曾经坚定的信念…… 一个华人家族的阿公过世，却留下了一些谜题。家人认为这些谜题或许是找出家传宝藏的线索。就当家中5位继承人开始抽丝剥线，逐步接近真相之时，耳边却突然响起阿公临死前说的那句古怪的话语：“先不要把我的尸体火化，直到…”此时，死去的阿公似乎开始尸变…。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.。