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黑社会教父遗失的儿子...是"英九"！？平凡的外貌，笨拙的行动，任谁看都十分特别的"英九"来到纽约投奔失散已久的黑社会教父爸爸，继而被指定为教父继承人而且需要接受一系列的课程训练，而训练他的正是组织的2号人物。本来很有可能接替教父位置的2号人物因为英九的出现倍感郁闷，还在对英九的训练过程中遭遇了重重挫折。而英九却在他糟糕的训练中，偶然搭救了对手黑社会组织头目的女儿南希并和她成为了朋友。不仅如此，英九为了赚钱讨好父亲而找商家的麻烦，却不小心造就了超级热卖的商品而成为了城市英雄。而看不惯英九的对头组织的2号人物绑架了南希，并栽赃给英九，从而挑起了两派组织间的战争，深陷阴谋的英九究竟会如何面对这一切呢！？。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.。主角是一些被连环跟踪狂马修·哈迪盯上的女性。马修·哈迪于2022年初因在网络跟踪而被判处英国历史上最长的监禁。纪录片探讨了这些女性的经历、警方的调查，以及哈迪最终如何被绳之以法。。