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一年一度的德國電單車節，吸引世界各地的鐵騎發燒友聚首一堂。適逢主辦品牌推出電單車一百周年慶典，相關大型活動召集鐵騎愛好者組團自駕遊歐洲，再浩浩蕩蕩抵達德國柏林參與盛會。鐵騎旅行團由法國尼斯起步，途經意大利、奧地利等地，並以柏林鐵騎嘉年華為終點站。星級電單車友袁偉豪、張振朗駕駛愛車隨團出發，體驗「兩個轆」浪遊歐洲之旅。兩位小生結伴走過激情與驚險，跟全球電單車迷真情交流，分享男人的浪漫！。人类在与地球相似的遥远外星建立了新家园，但这个星球上却有一种病毒，男人感染后可以听到其他人和动物的心声，每个男人脑子里的想法都能被他人听到，人与人之间不存在隐私，新星球上的普伦提司镇的男人们就不堪忍受自己的想法被人听见。 托德·赫维特是出生于这座小镇的男孩，他的认知中小镇没有女人是因为该星球土著居民蓝光兽家园被人类侵犯时故意让人类感染了噪音病毒，他们还杀光了所有女性。托德对此深信不疑，直到他遇到一个女孩。 托德在小镇附近的森林里遇到了一个叫维奥拉的女孩，她来自遥远的地球，她的飞船因故坠毁在森林里，普伦提司镇的镇长在得知这个消息后立刻展开对他俩的追捕，托德为了保护女孩维奥拉只好一起出逃，开始了一段他意想不到且危机重重的星球冒险。。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.。