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故事讲述男主角逢泽驱的哥哥逢泽杰，是一名拥有很高足球天赋，作为日本少年代表的王牌10号，是日本足球界的至宝，而作为弟弟的驱虽然对足球也是充满热情，但因为少年时的一件意外，使驱对足球产生了害怕，变得不敢在别人面前踢足球。杰与驱因为一场交通意外而重伤，杰为了保著驱的性命而把自己的心脏移植给驱。驱在之后发现了哥哥的心意及理想，而为了达成哥哥梦想，便立志要进入国家的足球队，重新踏上足球之道。。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.。