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接连发生的壁橱死亡事件让整个切斯特山城陷入了恐慌之中。《环球日报》将这个案子交到了一位名为理查德（Donald Grant 饰）的记者手中，在调查案件的过程中，理查德结识了大学教授本尼特夫人（Denise DuBarry 饰），多年的经验让本尼特夫人开始怀疑，案件的真凶并非人类，然而，警方却并不相信本尼特夫人所说的话。 诺贝尔奖获得者菲利普教授在查看过现场之后得出了和本尼特夫人相似的结论，种种迹象表明，一种邪恶而又凶残的怪物正潜伏在市民们的身边。最终，在菲利普，本尼特夫人和其儿子罗伊（保罗·杜利 Paul Dooley 饰）的共同努力之下，怪物现出了真身，糟糕的是，无论子弹还是炮火，似乎都无法伤害这怪物半分。。讲述结伴自杀的论坛里遇到的人们之间发生的故事。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.。