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樊小华（女主角）是一个亦正亦邪，身手不凡的女神偷。一次她的拍档犯事儿被人给扣下了，得花上一大笔钱才能把人捞出来。为了搞到这笔钱，樊小华瞄准了一户富裕人家下手，准备入室行窃。然而原本计划周详的偷窃行动在实际过程中破绽百出。她的下手对象，一对婚姻问题严重的夫妇的提前回家，更是打乱了樊小华的安排，使得她一时无法逃脱。然而随后事情的发展出乎意料，因为误会和积怨，这对夫妻之间的矛盾越来越大，他们开始百般设计，试图置对方于死地。樊小华不得不想尽办法，在不现身的前提下阻止悲剧的发生。。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.。1897年，大韩帝国时代动荡混沌，时有不同罪案发生，别巡检调查队四出调查，找寻破案的线索。 别巡检第2季的时代背景为1897年大韩帝国的国号宣布之后，比第1季还要迟些。高宗自俄罗斯回国后自称为皇帝，由此朝鲜便变为帝国，以阐明国家的自主性和独立性。并且施行了财政、教育、军事等几乎全方位的光武改革，令朝鲜向现代化迈进了一大步。因此这个时期应该是比第1季更为激动人心的时期，然而大韩帝国所追求的新价值，让国民看到的却是比任何时候都强大的同一与自主的混乱。。