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远离大都会的武藤站,迎来了一位美丽的女孩小岩麦子(堀北真希 饰)。麦子和在柏青哥打工的哥哥宪男(松田龙平 饰)同住在东京某公寓内,她为了成为动画声优而努力打拼。此前不久,缺席许久的妈妈彩子(余贵美子 饰)突然出现在兄妹二人面前。宪男和麦子不满母亲当年抛弃他们的行径,对彩子态度十分冷淡,直到最后彩子因晚期癌症去世,麦子也感受不到丝毫的悲伤。因哥哥抽不出空,此次麦子带着母亲的骨灰回到武藤安葬。她的到来在当地引起不小的轰动,因为麦子的容貌和年轻时那个心怀歌唱梦想的彩子一模一样。女孩遽然到来,勾起了井本(温水洋一 饰)、春男(井口薫仁 饰)等人年轻时代的甜美回忆。 因故在母亲家乡盘桓的这些日子里,麦子渐渐了解到了关于母亲许许多多鲜为人知的故事,她的心也泛起波澜……。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.。罪孽横行的墨西哥某地,连神职人员也自甘堕落。某教堂主教与毒品贩子查沃(戴维·卡斯托 David Castro 饰)相勾结,强迫修女们制作、运输毒品。在一次毒品交易过程中,一包丢失的白粉导致两名修女被杀,侥幸逃生的莎拉修女(Asun Ortega 饰)则被查沃抓进自己的娼馆,更遭到非人的虐待。奄奄一息的莎拉修女得到某个黑市医生的救助,她似乎在昏迷中听到了上帝的教导,指引她拿起武器荡涤世界上的肮脏与罪恶。 一年之后,莎拉修女卷土重来,对堕落的神职人员展开了血腥的大清洗,更将最终目标锁定在恶贯满盈的查沃身上。神罚降临,无人能免……。