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佐伊（赞达亚 Zendaya 饰）是一个平凡的青春期少女，成长在一个破碎的家庭之中。母亲在离婚后终于找到了人生的第二春，但佐伊却对自己的继父非常的不满。生活中非常孤独的佐伊只能将精力都发泄在手机之中，一次误打误撞下，佐伊在手机上安装了一个神秘的应用，很快，佐伊就发现，只要打开这个应用，任何男人都会无条件听从她所发出的指令。 得到了这个神奇的应用，佐伊兴奋极了，她非常享受那种人人都对她的话言听计从的感觉。但随着时间的推移，各种弊端开始渐渐的显现，佐伊刚开始的兴奋之情早已经不见踪影了，这个手机应用正在把她的生活搅得一团糟。。车祸中为了保护弟弟，顾秋拾心脏破碎。好不容易能换心脏，却被父母给了弟弟，而弟弟却弃之如敝。而一心关注弟弟的父母，错过了顾秋拾最佳救治时间，她死在了无人知道的角落。。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.。