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九一八事变之后，抗日呼声日益高涨，苏海龙和黄显声打响了沈阳城抗击日寇的第一枪。苏海龙面对养父和亲人的相继离去，重新振作，组建抗日队伍与邓铁梅一道加入东北抗日革命军。在此过程中，苏海龙在张婉婷的影响下，加入了中国共产党，并且带领部队给予日本关东军以沉痛的打击。日本关东军对苏海龙所在的部队进行了多次的围剿。在一次突围行动中，张婉婷为解救被围困的同志也献出了自己宝贵的生命。随着抗日斗争的形势逐渐严峻，东北抗联奉命相继进入苏联远东地区进行休整。苏海龙奉命前往延安抗大学习，学习结束后，苏海龙被派往苏联远东第88步兵旅。苏海龙多次率领小分队进入东北，对日本关东军进行渗透和侦查，成功炸毁虎头要塞号称“亚洲第一炮”的巨型榴弹炮，为日后的总攻扫清了障碍。。一群生活在马来西亚的底层人，因为没有身份证，无法享有公民权益，苟且偷生，活在水深火热之中。哥哥阿邦是聋哑人，幼时双亲因火灾离世；弟弟阿迪自幼被生父弃养，无依无靠。机缘巧合下二人结识，成为没有血缘的一家人。但因无法办理身份证，兄弟俩只能在混杂着各国外劳的富都相依为命，苟延残喘地活着。一位女社工佳恩好心帮助他们解决身份问题，却因一场意外，三人的命运发生翻天覆地的变化……。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.。