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该剧延续了当代热门的爱情主题，将几对青年男女的爱情故事作为主线，讲述了他们对于爱情的执着和守候，对于婚姻的渴望和慎重。。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.。莱斯利 (Leslie) 是西德克萨斯州的一位单身母亲，当她中了彩票并有机会过上美好生活时，她努力养活儿子。但短短几年后，钱就花光了，莱斯利独自一人，在逃离她留下的心碎世界的过程中，过着艰难而快速的生活。 随着她的魅力耗尽，无处可去，莱斯利回到了家。斯威尼是一名孤独的汽车旅馆店员，不受她冤枉的人的欢迎和厌恶，她在没有其他人愿意的时候冒险。在他的支持下，莱斯利直面自己行为的后果、遗憾的一生，以及为她和儿子创造美好生活的第二次机会。在整部电影中，莱斯利在朋友的帮助下努力变得清醒，修复与家人的关系，并开办自己的公司。本片取材于作家莱恩比纳科的半自传体经历。。