国军公认十大名将

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自幼习武的楚东带着妹妹从小山村来到北京，为了给妹妹治眼疾。他平日靠卖二手货和在修房打工来赚钱。一次在一家夜店外听着动感音乐自动起舞，被摄像头无意间传播进夜店里，DJ Tina惊讶地发现这个人的舞蹈天分。 Tina主动去接近楚东，期间有过误会，当楚东妹妹眼疾发作需要即刻动手术时，被Tina激励的楚东决定和车房的兄弟组团参加街舞大赛。 街舞之星钟少雄备受关注，他与楚东最终竞技到决战场。然而钟少雄的团队被利益集团操纵，在最后决赛上，利益集团买下人马拦阻楚东出场，群龙无首的楚东舞团未能夺冠。钟少雄却提出了一个意外的建议……。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.。一家三兄弟，大哥恋恋不忘的前女友Monica竟成为二哥的现女友。自尊心驱使下，大哥答应新结识的喵喵的追求。三弟和女友Josephine的姐弟恋长跑多年，也面临爱情危机。同一屋檐，3对情侣，4段恋情，每晚人齐开餐的相聚渐渐演变成饭桌修罗场，啼笑不停。面对旧爱与新欢，大哥将做何选择？大家努力维持的这个家，又该何去何从？。