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父亲离家失联十年后，儿子目莲（吴磊 饰）为寻找他只身来到杭州求学；为照顾即将大学毕业的儿子，母亲苔花（蒋勤勤 饰）来到杭州采茶谋生。原本平静的日子因为苔花与采茶东家(陈建斌 饰)的情感变故渐起波澜，苔花被骗入传销组织“蝴蝶国际”，摇身一变，从衣着打扮到言行举止都宛如“新生”，疯癫的举动让目莲感到诧异。目莲想尽一切办法奋力解救，风波看似平息，母子却陷入了更绝望的境地……这座人间炼狱究竟该怎样逃脱？现代版“目连救母”能否成功？。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.。