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故事描述生活在2016年的女侦探Raimy Sullivan发现自己能通过业余无线电台和1996年的父亲Frank Sullivan对话。这种联系让Raimy拯救了本应该在1996年去世的Frank，但是当Raimy开始通过父亲的旧电台干涉历史时，Raimy的生活陷入灾难，她为接连发生的奇异事件感到目瞪口呆——蝴蝶效应带来的微妙影响产生了不可预知的后果。两人不得不形成了一种新的合作关系——Frank帮助Raimy侦破那些数十年来悬而未决的谋杀案，两个人努力想要将生活回归到正轨.....。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.。