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前洛杉矶警察Dakota Varley参加动力艇比赛，拼搏$250,000的奖金。但是他很快发现，这根本就不是那么一回事。他被Dawson麻醉和劫持，被空投到一个无人岛上和另外六名可怜虫参加终极挑战死亡游戏。他们每夜会被持来复的猎人追捕，直到唯一一人幸存。最后到底谁又会赢得这场价值$10,000,000奖金的比赛呢？让我们跟随Varley的极度地动作冒险去体会乘风驾浪的快感，你准备好了么？。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.。