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这是一款风靡全球的虚拟恋爱游戏——“Love boys”。游戏主人公Y4组合以所有女性梦想的假想男友形式登场，令人如沐春风的陆啸、守护骑士般的苏烈、知性睿智的许念、国民弟弟般的花美男洛可，是这个充斥着不完美男人们的现实世界给出的“完美方案”。 全世界都以为Y4是设计出来的虚拟人物，实际上，他们是耀娱乐公司采集了真实存在的花美男们G4的数据来完成，因此Y4才能有别于同类游戏的虚拟人物，如灵魂一般真实存在。 现实中的他们称为G4（ghostly 4）在于他们的性格——与理想人设Y4截然相反，满是缺点。不仅如此，演绎着如此完美男友角色的他们，还是一群恋爱细胞为零的恋爱白痴。而发现了这一秘密的人正是故事的女主人公姜可乐和关千雅。 沉迷于虚拟恋爱游戏的姜可乐，无意间遇到了逃跑中的真人陆啸，真实的触感令她恍惚于虚拟和现实之间。紧接着，她就阴差阳错地闯入了与外部世界完全隔绝的Bayhouse，发现了Love boys的秘密。姜可乐的闺蜜关千雅，意外地与许念相遇，更探知到耀娱乐背后的惊天大阴谋。想要隐藏秘密的耀娱乐公司CEO徐广寒暗中操控着一切，在可乐与千雅的影响下计划逃走的G4遇上重重阻碍。。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.。