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城市突然出现火怪，普通职员大石头因此而失业，沮丧的他只好每天跟好朋友一起送快递，有一天竟然意外用朋友发明的饮料消灭了火怪，为了拯救家人和城市，他们化身饮料超人，成了对付火怪的超级英雄。。雾霭轻锁的山峦，迎来了清爽的早晨。旭日初升，太阳公公打着哈欠，放出暖人的光芒。这时有人向他问好。太阳公公低头一看，原来是穿梭在山前林间的小溪流。她欢快地穿梭在山谷的每一个角落，向森林高山问好。当大家尚回味着夜晚的恬静美梦时，小溪流已经迈开脚步，顺流而下，一路前行。半路上，她遇到了聒噪贪婪的乌鸦，乌鸦告诉她前面没有什么好东西，极力劝她停下脚步。小溪流自然不会听他的。之后她还遇见正茁壮生长的稻谷，她为他们献上甘露，仍未作片刻停留。可爱的小溪流，滋润了干旱的大地，帮助了社会更好地建设，她只有一个念头：“到前面去！” 本片根据严文井《小溪流之歌》改编。。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.。