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故事发生在一群被NIMH（国家智能研究中心）的小老鼠身上，人们利用这些老鼠进行智力开发之类的实验。实验进展得很顺利，老鼠们都有了类似人类的智商，于是他们计划出逃，但是在此过程中一位勇敢的老鼠牺牲了......不过本片的故事讲的并不是这个，而是那位英雄老鼠的妻子如何不畏危险保护自己孩子的故事。 家里的小老鼠生了重病，鼠妈妈想办法医好自己的孩子，在途中偶遇了善良的乌鸦，又差点被坏猫吃了。终于经过一番冒险她成功的将药带回了家，但是她的冒险结束了吗？她的孩子真的得救了吗？。相传民间有一类人，他们能行走阴阳、通晓鬼神，谓之走阴人，小沈师傅沈小寒便是其中的一员。沈小寒秉承师父的遗愿护送师父的骨灰回老家安葬，在归乡的路上途经一户人家，得知此处有一女鬼作怪，主人吴老汉深受其害苦不堪言，吴老汉知晓走阴人的本事，遂请求小沈师傅前来驱鬼……。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.。