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地球生病了，环境恶化，导致地球资源的告急，人类正面临着一场空前的危机。面对这种情况，人类把希望寄托在资源丰富的海洋，蓝猫、淘气、菲菲、咖喱组成调查小组，带着人类的冀望，深入神秘的海洋世界，寻找资源。然而，当调查小组在神秘莫测的大海里克服重重困难，暂时缓解地球资源危机的时候，更大的问题却出现了。整个海洋世界表现出更加异常的现象，发生在海洋的灾难也一步步加剧。种种异常现象让好问的蓝猫再次深思…… 有了在恐龙时代的经验，蓝猫和伙伴们懂得要与海洋生物友好相处，收集了很多资料，总部得到海洋资料后，立即组织开发利用，一切都显得非常顺利。这时，蓝猫给大家分析一些迹象，告诫大家如果一味盲目开发，会导致更大灾难。但是，大家不相信他。蓝猫找不出有力证据，大家都认为蓝猫是故意捣乱，于是联合起来排斥蓝猫，矛盾愈演愈烈，蓝猫不得不离开集体…… 正当大家以为球危机缓解的时候...。坐监多年的扬•迪特（奥德里奇•凯瑟饰）大赦获释，他被“放逐”到捷克北部边境森林里修一条看上去永远修不完的道路。回想年轻时候，迪特感慨万千，那时的自己（伊万•巴尼弗饰）只是个年轻的饭店服务生，却立志要成为百万富豪。小个子的他精通服务之道，同时不忘追逐金钱和女人。他先后到过生活奢靡的天堂艳楼，布拉格最气派豪华的巴黎饭店。在那里，饭店领班告诉迪特，他之所以精通各项待客之道，是因为曾侍候过英国国王。 第二次世界大战前后的捷克情势变化莫测，迪特遇见了同是小个子的德国姑娘丽莎（朱丽娅•耶特斯饰）并遇到许多困难，但他依然坚定不移地朝着立下的目标努力……。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.。