Fact-based story about a 1975 cover-up of a shooting by two white members of the Boston Tactical Unit. While on stakeout on a suspected getaway car used in a armed robbery, the two gunned down a black man who entered the car. The two claimed the man had a gun and they shot in self-defense. Police investigation decided it was a rightful shooting. The man"s widow knew her husband...。

白素贞(😺)转世白子西为了摆脱宿(🐻)命，穿梭在繁华都市，开启(😗)了漫漫寻找龙骨伞之路。

一名参议员纠结于自己是否要为一项不赞同的法律投赞成票，他的(🖌)良心和他对于自己党派(🈸)的忠诚让他深陷矛盾之(😯)中。

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.。

可是他(tā )不知道，一切都是(shì )母亲的善(shàn )意的谎言(yá(🍃)n )，虚构了(le )父亲的一切，事实(🖨)上他们到处搬家就是想(🍜)要摆脱父亲残酷的家庭暴力。

奥迪尔寄宿在一所豪华大宅里，她告诉弗朗茨，这所屋子里存放(🎆)着巨额现金。

1567年，在乌巴图(📑)巴(Ubatuba)，他们与Cunhambebe签订了Iperoig条约，条(💚)约的签署使得巴西落入葡萄牙人的手中，而且(qiě )在当地只(zhī )允许使用(yòng )葡萄牙语(yǔ )和信奉天(tiān )主教。