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对于今天的中国人来说，皇帝是古老而又神秘的词汇，秦皇汉武、唐宗宋祖是遥远的仰望，康熙、乾隆也只剩画像上的猜想。但有一个皇帝，我们不仅能看清他的面容，还能听到他的声音，他就是清朝最后一位皇帝――爱新觉罗·溥仪。溥仪出生于1906年，逝世于1967年，在一个花甲的轮回中，他拥有了非凡传奇的人生经历：登极、退位、傀儡；皇帝、战犯、公民，荣辱沉浮、几度起落，每一个他都很不寻常。在那个大动荡、大转折的时代，他和普通人一样，也曾焦虑、也曾彷徨，在尴尬中寻找前行的路，在期待中挽回失去的家。他是一个时代的缩影，他是历史的注脚。让我们跟随辽宁师范大学喻大华教授的脚步，拨开历史的迷雾，一同走近末代皇帝溥仪的内心世界...。耿浩然（秦汉饰）是在大陆发展的台商，深爱名舞蹈家静如（刘雪华饰）。在静如与钱大宇（周绍栋饰）结婚当日，浩燃然起勇气阻止婚事，静如奔向浩然的怀抱，令大宇怅然。 十年后，浩然与静如育有一女圆圆。但浩然想再生一个孩子，可浩然没有精子。而大宇在医院从检查报告中得知浩然不孕，便央求曼妮使用自己的精子，曼妮只好同意。 静如为十年回顾展拼命练舞，引发旧伤。大宇替静如检查时，发现她患有骨癌，只有五年命。静如为了浩然的事业，举家迁到大陆。浩然同事的女儿情凡和梦凡同时爱上浩然。一次醉酒后，浩然狂吻了情凡，伤心的静如决定在离世前撮合他俩，也为圆圆找个好妈妈。 静如病情加重，不得不截肢，十年回顾展无法上台，她最器重的学生梦凡为她了却了心愿。在公演的那天，静如闭上了眼睛……。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.。