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阿泰自小就志愿当一名无拘无束的船员，可惜哥哥嘟嘟天生智力障碍，自幼就和嘟嘟相依为命的阿泰为了照顾哥哥，一直没有实现心中梦想，当上了一名普通的警察。可是阿泰在警局过得并不快乐，天性无拘无束的他极不受上司欢迎。终于在一次和上司顶撞后，阿泰愤然辞职，决定去当船员。 看到阿泰辞职，嘟嘟以为弟弟准备抛弃他了，开始自己试着去自力更生。一天，他和邻家小孩玩游戏时，意外捡到了劫匪留下的珠宝。邻家小孩的哥哥贪财，将嘟嘟推下了山边，抢走了珠宝，岂料此时劫匪返回，将他杀了。这时，阿泰闻讯赶来，一番打斗后将劫匪杀了，在山边救回了嘟嘟。阿泰亦因杀了人免不了牢狱之灾……。普通男子高中生加贺谷修一可以变身为怪物但并不是普通的怪物，而是布偶怪物，而且还是少女进入他的身体控制。这样过着日常生活的他，所热爱的日常，某天开始却突然不复存在……。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.。