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陆瑾年和乔安好在初三的那一年，因为一场雨相识，两个人互生情愫，可是每次却都阴错阳差的错过。 晃眼过去八年，陆瑾年，终于在演艺圈里混的有了起色，准备在乔安好生日的那一晚去找她告白。又因误会而失败。 五年后，韩如初找了陆瑾年来扮演许嘉木，然后并放出和乔安好联姻的消息，企图以稳住家族企业，曾经互相暗恋的两个人，再次重逢，并开始扮演假未婚夫妻。两人的关系却因之前的误会处于冰封状态。直到陆瑾年两人互相坦露心迹，重修旧好。 两人的感情因一次又一次的误会和旁人的阻隔而生隙，直到最后乔安好知道真相……。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.。