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天生调皮捣蛋的张博文，和姐姐张伊静串通演戏，假装姐姐作业被毁，气愤的妈妈取消了他们一起外出旅游的资格，两人窃喜，终于可以暂时远离父母的管束，自由活动，于此同时，郝氏兄妹家里的一本祖传医术被以郝老板为首的一伙笨贼盯上，想趁家里大人不在机会设计偷走，郝老板许诺一旦拿到医书将重金酬谢，王思柔、程帅、包蓝天三人各怀目的，决定铤而走险。。。当他们鬼鬼祟祟的进入郝家，在张家姐弟帮助下，四小孩用自己拥有的绝技智斗笨贼，让笨贼出尽洋相，并笑料百出……。《白色通行证》改编自内拉·拉森于1929年撰写的著名同名小说，围绕两位黑人女性艾琳·雷德菲尔德（泰莎·汤普森饰）和克莱尔·肯德里（荣获奥斯卡金像奖提名的鲁丝·内伽饰）展开叙述，在20世纪20年代末纽约哈莱姆文艺复兴的鼎盛时期，她俩都可以冒充白人，却选择生活在以肤色为界的两个世界里。一个夏日午后，两名童年好友偶然再会，艾琳不情愿地让克莱尔登门拜访，结果克莱尔讨好起艾琳的丈夫（安德烈·霍兰饰）和家人，之后更打入她交游甚广的社交圈子。随着两人的生活更紧密地交织在一起，艾琳发现自己曾经稳定的生活开始因克莱尔的出现而天翻地覆。《白色通行证》是一部引人入胜的电影，审视了人性的痴迷和压抑。为了保护自己精心构筑的现实，人们可以对自己和他人说什么谎？。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.。