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本片以班度族五子构成的新时代组合为噱头，讲述了上个世纪末，印度陆军冲破美国中央情报局和巴基斯坦特工的重重围追堵截，成功进行了核弹爆炸试验的热血故事。。年幼的妹妹遽然离世，让孤独的青年李在贤（柳德焕 饰）万念俱灰。虽然放弃了轻生的念头，不过他的人生也一切重来。在朋友的帮助下，他在一家补习机构供职，借着教书寻找生的感觉。某天，一个奇怪的女孩闯入李在贤的生活。她叫朴秀贞（郭智敏 饰），因男友去世以及和后母交流不畅而闷闷不乐，沉默的外表下仿佛隐藏着无尽的心事。偶然间，李在贤发现秀贞能够侵入他的大脑，知道他一切的想法。在秀贞的引领下，在贤甚至进入了一个奇妙舒适的世界。他对秀贞既感惊奇又着迷，然而这个美丽且神秘的女孩某天却不辞而别。 枯燥乏味的生活由此发生转变，卷入其中的却不止一人……。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.。