战争夺去了医生叶丽莎的丈夫。然而，个人的悲痛并没有使她倒下，她清楚地了解生活的意义，了解自己的责任是拯救人的生命。她忘我地劳动着，把病人的痛苦当作自己的痛苦，与一切保守、落后、个人主义的思想进行着斗争。她的同行阿卡宁一再跟她纠缠，追求她。但是她看出阿卡宁是个自私自利的人。他的英俊的外貌掩盖不了渺小、卑微的灵魂，她拒绝了他的爱。命运使她遇到了一个两腿瘫痪的病人——造船设计师叶尔肖夫。这是—个以革新精神对待自己的工作、也以不屈的意志对待自己的病痛的人。在叶丽莎维塔医生和病人自己的紧密配合下，叶尔肖夫终于从病床上站起来了。他们俩永远生活在一起了。

本，一个有抱负的漫画家最近分手了。当迷失在自我怀疑中时，他遇到了活泼自由的朱丽叶。他们有一个即时的联系，但她也计划很快搬走。不管怎样，两人决定尽可能地在一起。随着他们对彼此的爱越来越深，他们在一起的时间越来越少，他们不得不面对爱可能不足以让她留下。

三个昔日同学二十年后相聚时，发现各自的生活都被永远存在的“后门人”破坏。马克思是一名有天份的地方日报记者，成为永久雇员的机会却被知名作家的女儿掠走。伊尔玛是医院里最受赏识的医生，本该属于她的工作合同却被主治医生的新女友夺走。萨缪埃尔是刑法方面的天才，经过多年实习，梦寐以求、唾手可得的交椅却被毫无能力的老板女婿窃取。十年的寒窗苦读对他们来说瞬时变得毫无意义，他们决定用自己的方式做些什么，搅乱“后门人”的生活，直到情况变得越来越难以控制……

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.

老人斯拉维萨（Miodrag Krstovic 饰）与女儿女婿住在一起。他的老伴已经去世，而他渐渐患上了阿茨海默综合征，记忆力不断减退。他甚至忘记了自己曾经当教授时写过的教材，而在雨夜中也会迷失回家的路。 　　斯拉维萨只有在老伴的墓碑前才显得头脑清晰，每次都表达着对逝去的伴侣的思念和对当前无奈的感受。女儿和女婿忙于工作和照顾他们自己的家庭，无法完美的顾及到老人的需求。最终，他们不得不做出决定，将老人送进养老院，那里毕竟是专业照顾老人的机构。为了降低老人摔倒的风险，养老院没有设置台阶。虽然在决定和送老人去之间有很多不舍和无奈，但这被认为是最好的选择。