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谷口（田口智朗饰）和妻子（叶冈伸饰）有个儿子，他们一家过着普通的幸福生活。一天儿子被两个光头仔绑架并杀害。谷口既紧张又愤怒，心中充满了杀意。之后，被绑架的他被送到地下工厂做了人体实验，大批的光头仔在那里生产。 谷口被该组织的统治者（冢本晋也饰）改造成一个可怕的半枪械人——人类人体和枪械重武器的混合体，并最终成为钢铁打造的恐怖机械人。之后一个惊人事实出现，他和统治者竟然是亲兄弟，一场命中注定的对决随之开始。。克丽奥佩拉，一个躲在狮身人面像阴影下的受惊的少女，遇到了从罗马来的凯撒，宣告了埃及的新纪元的到来，也预示了埃及女王的诞生。这时的克丽奥佩拉还是个天真可爱少女，美貌诱人却有着易怒多变的性格，梦想着有强壮臂膀的英俊男人保护，登上女王的宝座；萧伯纳从另一个非常不同的角度出发，使笔下的凯撒不再是传说中的强势凶暴的好战者，而是贤明、仁慈、诙谐、慷慨的君主，厌倦了血腥和背叛，渴望欢快的人生。。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.。