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影片亦魔幻亦真实，亦纯净亦黑暗，以皑皑白雪的寒冷冬季作为电影背景，描述了一场生死相隔，世纪相离的情愁。 从认识到相爱到生死相隔，然而令人心动的爱情故事并没有结束……主人公是一个叫做彼得·雷克（科林·法瑞尔 饰）的爱尔兰移民男子，他一开始在曼哈顿找了份机械师的工作，但后来被迫加入黑帮组织“短尾巴”（Short Tails），成为一名窃贼。然而不久他就得罪了黑帮老大（罗素·克劳 饰），不得不开始躲避“短尾巴”的追杀。一天，彼得在溜进报业大亨的房子行窃时，与其女儿贝弗利（杰西卡·布朗-芬德利 饰）一见钟情，然而贝弗利因肺病不久便去世了。之后彼得意外闯进了云墙，音讯全无，百年后他再次出现，但已不记得自己是谁……。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.。