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地痞曹勇怀疑老婆与人有染，设计捉*。记者朱亮报道了此事，受到曹勇的敲诈。苏岩帮他解除了困境。 酒楼老板被害，社会上议论纷纷。刑警队奋战数周，却抓错了人，使公安局颜面扫地。这时，有人举报苏岩，苏岩陷入困境，调离专案组。 苏岩并不气馁，开始自己寻找答案。 越来越多的疑点指向朱亮。苏岩顶着误解和压力，寻找证据。 铁证如山，朱亮承认自己就是凶手。 案子破了，苏岩却获知，真凶已经落网。无数个巧合意外相遇，朱亮被冤枉了。 每个人都从这次意外中找到了真实的自我，获得了心灵的洗涤。 警察的工作是神圣的、艰辛的，他们需要社会的支持和理解。案子破了，他们是英雄，案子没破，他们也是英雄。。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.。伟大卫国战争时期。刚从军校毕业的谢尔盖·奥加尔科夫来到前线，他的第一个任务是向炮兵师传达撤退指示。但由于缺乏经验，奥加尔科夫中途迷路，外加炮兵师已被包围，命令没有被传达，炮兵师被歼灭。奥加尔科夫被军事法庭判处死刑，上级指示他的同龄人、哈萨克族列兵朱拉巴耶夫负责押送，然而突然杀来的德国人却改变了事情发展的方向……。