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史帝芬公司研发出可以利用卫星发射的太空武器，但却被恶徒觊觎，将程式软体窃走，恶徒们并安排坠机事件，想将史帝芬公司的主管们淹死在海中，还好联邦探员麦克急中生智想办法让飞机浮出水面救出了大家，但史帝芬的老板巴伯却无法及时逃出而葬身大海中，麦克根据线索找到了恶徒的下落，一举将他们歼灭，同时也毁掉遥控电脑的软体，让太空武器无法在危害人类。。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.。