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祺是一名职业扒手，这天出门前，家里飞来一只文雀，放生也不肯走，逗留昏暗屋内。祺与伙伴们午餐时问起自来雀的象征意义，伙伴说这是惹祸上身的前兆。当然，这是玩笑话。  祺带着兄弟四人在香港街头偷窃讨生活，四人共骑一辆自行车，歪歪扭扭，别有一番兄弟情趣。祺闲来爱拍摄街头风情，这日一名急匆匆跑过的女子甄珍妮吸引了他的目光，他迅速拍下她的倩影。  无独有偶，他的另外三位兄弟，先后被同一位风情万种的女子缠绕，这女子总是步伐匆匆，但兄弟四人都着迷于此。直到他们被人狠狠教训。才明白珍妮是富商傅先生的情妇，她想从傅先生那里取回自己的护照，过回自由的生活。  这四名兄弟，决定为她，冒险一回。不为什么原因。然而傅先生也是江湖老手，一场较量正在开始。。警察欧林刚刚调来到这个底特律犯罪最猖獗地区的警局，局里就发生了一件惊天大案！原本所在警局保险柜内的赃物50公斤海洛因不翼而飞了，由于这批毒品价值连城，局里的每一名警员都有作案嫌疑。 作风硬朗的欧林开负责调查这起毒品失窃案，但调查进行得异常艰辛。每天，当欧林回到局里，似乎一双双敌对的眼睛就监视着他。欧林找到了街头混混沃克协助他调查这起案件，沃克认为警局内的每个人都有份参与这起盗窃案，包括欧林也不例外。解开迷案的关键就在沃克身上！。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.。