江城富豪沈洞天为选择性失忆所困扰，刑侦在心理医生方依云的建议下，刑侦他决定接受深度催眠的疗法来探寻往事的真相。随着治疗的深入，尘封已久的往事逐渐浮出水面。沈洞天发现，自己的失忆和前妻杜阑珊的死有着密切关系，他很可能就是杀害杜阑珊的凶手！沈洞天的未婚妻莉莉和弟弟千鹤不断阻止沈洞天的治疗，这似乎更加印证了沈对自己的判断，然而，一次偶然的机会，沈洞天发现自己的心理医生方依云竟然已经"死去多年"，这个神秘的催眠师让事情再度变得扑朔迷离，而弟弟也似乎向他瞒着一个巨大的秘密。那么，事情的真相究竟是什么？谁是杀害杜阑珊的真正凶手？"方依云"究竟何许人也？
回复 :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.
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回复 :主人公杨阳家境殷实，大学毕业后，为体验生活去了一家超市当业务员。在这过程中他结识了女友钟灵，他十分珍视和女朋友的感情。因为两人地位悬殊，他的母亲极力反对他们的感情，他的女友为此郁郁寡欢。突然有一天，心情低落的钟灵被一辆疾驰在马路上的卡车撞倒，不治身亡。杨阳因此深受打击，患了精神疾病，并失去了以往的记忆。而后他遇到了两个长相一模一样的姑娘，性格温柔贤淑的李可可和性感泼辣的李爱爱。阴差阳错，杨阳和李可可合租了一套公寓，并发生了一些令人啼笑皆非的笑话。与此同时，杨阳也被这两个长相相同，性格迥异的女孩捉弄得晕头转向，杨阳逐渐地对这两个女孩的身份产生了怀疑……
回复 :梅根·里德，前警察，戒酒康复中心的酒鬼。她采取了夜班和情况颠倒过来，当一系列奇怪的事件造成的尸体之一储存在太平间。
