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在中国一座南方城市的老院中，居住着一位“老美人”，她今年已年过七旬；大家都叫她“奶奶”； “奶奶”曾经有着可以到北京进解放军歌舞团的经历，但为了爱情，她回到南方小城；奶奶结婚三天后，发现丈夫有了外遇，一气之下回到乡下，做了五十年的农民。故事通过奶奶大孙子阿泉和有着智碍的二孙子小二的视角，细致入微地刻画了一个七旬老人丰富的情感生活，以及与当代中国年轻人不同的观念和生活态度；奶奶生活在上个世纪五、六十年代，她唱那个年代的革命歌曲，回忆风华正茂年代自己的芳容；当孤独的老邻居、与她相依为伴、成天神秘交换食物的邻居奶奶去世的时候，她与众人为逝者高声吟诵毛主席语录；有一天，奶奶年轻时期的一位相好拿着奶奶年青时的照片找上门来，奶奶陷入了情感的漩涡中。。相不相信，冲浪的发明者是企鹅？小克迪就是个人小志气高的冲浪天才小企鹅，他最崇拜的偶像就是冲浪的前辈大师Big Z。Big Z是冲浪之王，为所有企鹅所崇拜。10年前，Big Z外出冲浪，从此一去不归，为纪念他，于是有了以Big Z的名字冠名的冲浪锦标赛。夺取锦标赛桂冠就能得到名望和尊重，克迪对此深信不疑。他信心饱满地盘算着，要参加他生来第一次职业赛——第10届冲浪锦标赛，而他最大的对手是冲浪好手“坦克”，他已经连续9年多管了。有一支纪录片摄制组贴身跟着克迪，要记录下他参赛的经历。于是克迪不顾一切，离开了家乡，远赴比赛所在的Pen Gu岛。沿途他认识了大名鼎鼎的赞助人雷吉、可爱的女救生员兰尼、小鸡乔，还有古怪的老隐士，终于他明白了真正的胜利者，单取得大奖的荣耀是不够的。。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.。