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趙老先生是位已失明的雕刻家，一生一直是在雕刻中渡過。雖然，他每天所刻的不過是一塊木頭，卻好似成為一種心靈上的寄托，一心一意要刻好這一座關公雕像。經過四年的時間，他一直不持續雕刻關公神像的工作，並且認為神像完成之時，將會產生無比神奇的力量。 但是，他的兒子趙超羣是一位傑出的科學家，所以無法接受父親對著木刻神像發呆，所以兩人雖為父子，卻在思想上是截然不同。然而，趙老先生的心中也生氣兒子長了這麼大，還培養他讀書，竟來責問他的事情，因此，父子雙方造成極大的衝突。 某日，天空突然出現飛碟在地球上空，並降下外星人任意破壞，眾人完全朿手無策；同時，趙老先生嚥下最後一口氣前，他點出木雕神像的雙目時，心中所信仰的神力出現了。最後，幸獲武聖關公顯靈，手持青龍偃月刀下凡，雙方歷經一場激戰後，關公總算剿滅外星人，拯救萬民於水深火熱……。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.。