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故事发生在一个虚构的奇幻世界之中，在这里，人类不再被局限于陆地之上，而是可以自由的翱翔在天空中。地域的不受限促使一种名为“飞翔马戏团”的运动诞生了。少年日向晶也（逢坂良太 配音）曾经是这一领域内的种子选手，被寄予厚望，然而，在一次惨败之后，晶也彻底放弃了梦想和希望，之后一直都过着浑浑噩噩的生活。 一次偶然中，晶也和一位名为仓科明日香（福圆美里 配音）的转校生相遇了，在明日香的引导和鼓励之下，晶也对于飞翔马戏团运动的热情被重新点燃。然而，他离开赛场已经太久了，再度回到舞台的中心，他能否恢复曾经的强劲实力呢？。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.。