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扣人心弦的《血色星期二》第二部再次席卷而来。天才黑客高木藤丸（三浦春马 饰）这次又会遇到什么棘手的问题呢？ 第一部的最后，藤丸和其朋友力挽狂澜地阻止了病毒危机。而这次他们面临的则是更加令人恐怖的核弹恐怖计划。在病毒危机结束后两年，受其影响的藤丸决定再也不碰电脑，可是他还是不能组织自己和朋友九条音弥（佐藤健 饰）、高木遥（川岛海荷 饰）被卷入到新的计划当中。载有核弹的飞机正在一点点向东京逼近，而东京的群众却毫不知情，为了避免东京遭受到核弹的重创，藤丸和音弥不得不继续开始奋战。而他们所面对的除了老对手折原玛雅（吉濑美智子 饰）和神崎润（成宫宽贵 饰）外，还有许多新人。而结果究竟如何呢？。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.。