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风头正劲的人气模特雅罗（李素晶 饰）美丽华贵，矜持高傲，在一次工作中重逢了之前的相亲对象——专业认真的摄影师姜道庚（李贤真 饰）。道庚丝毫不惧雅罗咄咄逼人的气势，令这位傲气的模特甚为难堪，可是随之而来的好评也让她重新认识了道庚的实力。周围人的赞誉及对道庚的评价令雅罗对这个严肃的摄影师渐生好感，可是无论她怎样尝试，对方却总是一副拒人于千里之外的冷冰冰面孔。 经过一番调查后发现，道庚似乎只对那种胖嘟嘟的女孩感兴趣。平素里注重形体保持且对胖子嫉恶如仇的雅罗，能否为了心中所爱奋勇增肥，改变自己的形象呢？。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.。