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郑能量二十多年来靠一己之力经营着一间“老爷子烧烤”，并养育儿子郑言长大。如今郑言小有成就，希望父亲不再辛苦、安享晚年，但郑能量早已将烧烤视为毕生事业，怎么也不同意关店，放言“除非店黄了”。机缘巧合下，郑言决定启用公司项目终结者李炎燚，把父亲的店干黄。李炎燚经过考察，决定与“老爷子烧烤”对面生意冷清的“烧烤之王”结盟，与店主刘小天达成共识，并想尽办法将“东北禽王”和“腰子姐”两位夜市灵魂请来组成“烧烤之王”战队，与“老爷子烧烤”进行了一系列的pk，最终老爷子烧烤店战败，“烧烤之王”战队也结下了深厚的感情，李炎燚决定辞去工作跟战队专心经营烧烤店，却怎料郑言心疼郑能量失去事业后整日落寞，决定重振“老爷子烧烤”，对“烧烤之王”进行降维打击。热闹的集市间，实力与人情兼备的“烧烤之王”比拼，将不再落幕……。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.。上世纪70年代，一个油菜花开的时节，上海知青齐高志等几十人来到鄱阳湖芦花村插队。村长将齐安排在农民赵大春家食宿。齐高志在与赵大春的对象田香的相处过程中，暗暗产生了感情，坠入爱河，并在一次偶然的机会中，品尝了爱情的禁果。 1978年秋，按国家政策，上海知青大返乡。返乡前，齐高志表示，回到上海落实政策参加工作后将接田香去上海生活。但回上海后，两人因客观原因渐渐中断了联系。几个月后，田香发觉自己怀了齐高志的孩子，为此惶惶不安。这时，深爱田香的赵大春接纳了田香并办了婚事。后来，田香因难产去世，赵大春用水乡人民博大的胸怀接纳了难产生下来的孩子芦花。 内容来自一次，长大后的芦花启开了一个上了锁的抽屉，发现亲生父亲齐高志从上海寄来的几十封信，才得知自己的真正身世。赵大春病了。为了治好养父的病，芦花只身来到上海找到亲生父亲齐高志，想送养父到上海治疗。养父不依，芦花的...。