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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.。丽莎（萨顿·福斯特 Sutton Foster 饰）是一名年近四十的家庭主妇，她做“这一行”已经有数十年了，当她从家门中走出去，想要另外找一份工作之时，才发现曾经以为易如反掌的事情，如今已经变得遥不可及。 一次偶然中，丽莎被一个偶遇的年轻男人告知自己根本就不像这个年龄的人，甚至看上去要年轻很多，她的脑袋里想到了一个好主意。在好友玛姬（黛比·玛扎 Debi Mazar 饰）的帮助下，丽莎从头到脚进行了一番改造，谎称自己二十六岁，向出版社投出了简历，果不其然，丽莎顺利的获得了这份工作。然而，这只是故事的开始，丽莎该如何隐瞒自己年龄的秘密，在竞争激烈的职场上为自己挣得一片天地呢？。潘妮·切纳里原本是一个普通的家庭主妇。对赛马几乎一窍不通的她，却在哥哥和丈夫的反对下，从患病的父亲手中接管了位于弗吉尼亚州的养马场。尽管此时马场已经亏损，但她依然在居家的科罗拉多州和马场所在的弗吉尼亚州之间疲于奔命。 为了觅得良马，潘妮特地拜访告老还乡的驯马师路西安，这个总是诸多抱怨的老头却对门外汉潘妮另眼相待。潘妮一眼相中一匹刚出生就能打个滚站起来的栗色小马驹，并取名为“秘书”。 在路西安的个性训练下，“秘书”初出茅庐就一鸣惊人。它快如闪电、奔跃如飞，像个战士一般，甚至会为了赛场地面的震动而兴奋不已。终于到了决一胜败的时刻，“秘书”会顶着所有压力，不辜负潘妮的期望，成为25年来第一匹赢得三冠的赛马么？。