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馬提洛克曼（Jerry Springer）因製作電視實境秀「告我啊」一炮而紅，滿腦鬼點子的他有了一個新的節目構想：「全民判決」。他打算在每一週推出一個真正的罪犯在美國大眾前接受審判，而每個民眾都是陪審團。如果被告被判死刑，洛克曼將轉播行刑典禮。在暴行和恐怖主義肆虐的佛羅里達州，州長泰勒（Raffaello Degruttola）為了在即將到來的選舉中塑造自己打擊罪犯的鐵腕形象，同意洛克曼在坦帕製作「公民判決」，觀眾將用電話來進行判決。第一集的主角是涉嫌強暴並謀殺名廚桃莉漢彌頓的瑞克卡爾（Roy Scheider）。瑞克有罪的投票判決幾乎是無庸置疑的，然而當調查開始，卻有越來越多的證據顯示他可能是無辜的……。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.。Karl puts his life in Berlin on hold, only to wait every day at 3pm for the love of his life at Café Sacher in Vienna. But sometimes love happens to you, while you’re busy waiting for it...。