1941年11月4日，侵华日军731部队在常德空投鼠疫跳蚤，导致常德爆发了从来没有过的鼠疫大流行，成千上万名无辜平民死于非命。2002年8月27日，东京地方…

故事发生在风景如画的云山，一名年轻美丽的姑娘卓丽萍（李勇勇 饰）在崖边丢下纸币，紧抱国画后跳下山涧。被送到医院时，她只梦呓般地说了句“何晓雪害了我”便昏迷不醒，最终去世。青年画家钟渊（聂雅亮 饰）在得知卓丽萍的死讯后，冲进医院对着她的尸体自称“是我害了你”，这一幕被记者鲁化平意外录下。何晓雪，外贸局青年干部，市委书记李仲岷的养子，因言辞模糊被拘留。李仲岷因这一打击病倒入院，检察长鲁枫正考虑签署何晓雪的逮捕令。然而，办案人员小吴对仅凭死者梦呓的指控提出质疑。 　　市政法委员会办公室主任叶正秋传达了李书记希望案件处理不受其健康影响的意见。何晓雪的未婚妻徐敏敏，一名法律系学生，在得知钟渊才是真正的凶手后，决定为何晓雪辩护。开庭时，徐敏敏提供了证据和证人，指证钟渊为凶手，引发了广泛讨论。法庭决定将案件延期审理，以进一步调查真相。

故事发生在风景如画的云山，一名年轻美丽的姑娘卓丽萍（李勇勇 饰）在崖边丢下纸币，紧抱国画后跳下山涧。被送到医院时，她只梦呓般地说了句“何晓雪害了我”便昏迷不醒，最终去世。青年画家钟渊（聂雅亮 饰）在得知卓丽萍的死讯后，冲进医院对着她的尸体自称“是我害了你”，这一幕被记者鲁化平意外录下。何晓雪，外贸局青年干部，市委书记李仲岷的养子，因言辞模糊被拘留。李仲岷因这一打击病倒入院，检察长鲁枫正考虑签署何晓雪的逮捕令。然而，办案人员小吴对仅凭死者梦呓的指控提出质疑。 　　市政法委员会办公室主任叶正秋传达了李书记希望案件处理不受其健康影响的意见。何晓雪的未婚妻徐敏敏，一名法律系学生，在得知钟渊才是真正的凶手后，决定为何晓雪辩护。开庭时，徐敏敏提供了证据和证人，指证钟渊为凶手，引发了广泛讨论。法庭决定将案件延期审理，以进一步调查真相。

阿富汗一直是个新闻热词，最近随着奥巴马的撤军计划和卡尔扎伊胞弟等阿富汗官员遇刺，阿富汗再次成为各大新闻社的高频词。但是关于阿富汗，我们的记忆似乎只限于战争和反恐，这次就让英广最新纪录片《阿富汗》带你深入了解这个神秘国度。。

阿富汗一直是个新闻热词，最近随着奥巴马的撤军计划和卡尔扎伊胞弟等阿富汗官员遇刺，阿富汗再次成为各大新闻社的高频词。但是关于阿富汗，我们的记忆似乎只限于战争和反恐，这次就让英广最新纪录片《阿富汗》带你深入了解这个神秘国度。。

出生在一个被黑手党控制的小城里，一名愤怒的年轻女子决意向拆散和囚禁她家人的邪恶力量复仇。

钟灿（金柱赫 饰）和妻子妍红（孙艺珍 饰）结婚多年，膝下有一可爱的女儿，两人男才女貌，在外人眼中是如同神仙眷侣一般的存在。钟灿涉足政坛，事业小有成就，同僚们都知道，他将有极大的可能成为下一任的国会议员。 　　某一日，厄运降临到了这个幸福的家庭之中，女儿无故失踪下落不明，留下难以解释的模糊线索，令警方毫无头绪。让妍红感到不可思议的是，对于女儿的失踪，钟灿似乎并没有那么焦急，他脑中所想的，只有如何在下一场竞选中取得胜利，夫妻两人之间的感情因此而产生裂痕。无奈之下，妍红只得强打起精神，她知道，女儿所能依靠的只有自己。

一名受人尊敬的主播（高庚杓 饰）突然在播报时失去自我约束力，此举吸引了一名电视台编剧（姜汉娜 饰）的注意，并邀请他上自己的综艺节目。

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.

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.