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乔在父亲死后，陪母亲卡特琳娜赴意大利参加歌剧演出，却因寂寞而染上毒瘾，使卡特琳娜份外心痛，对乔百般迁就，竟使两人发展出一段畸恋，在道德觉醒下，幸未造成大错。卡特琳娜不得已将隐藏多年，乔另有生父的秘密说出，为使父母破镜重圆，乔乃前去找寻亲身父亲。 导演用弗洛伊德的精神分析学说来阐述这对母子的行为，认为人的所有意义和能力都源自于性欲的需求，月亮是代表母亲和女性形象的载体，以隐喻母亲对儿子的性影响。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.。泰伦加纳邦分裂之后，维沙卡市的社会治安受到了十分严重的威胁，警察局暂时接管了统治，但很快，新上任的总督就惨遭杀害，部长们对混乱的现状一筹莫展。无奈之下，他们想到了大名鼎鼎的警官达雷（苏利耶·西瓦库马 Suriya Sivakumar 饰），想要请他出山平定乱局。 为了保护妻子卡维亚（安努舒卡·谢蒂 Anushka Shetty 饰）的安全，达雷对外谎称自己已经和妻子离婚了，谁知道一直在跟踪报道案件的女记者威迪亚（施卢蒂·哈森 Shruti K. Haasan 饰）在阴差阳错之下爱上了达雷。随着调查的渐渐深入，达雷震惊的发现，这起凶杀案的背后竟然牵扯到了澳大利亚政府，案件的一点一滴动向都左右着国际局势。。