亨利（让·迦本 Jean Gabin 饰）经营着一家夜总会，进(🅰)行一(yī )些下流艳俗的表演，擅(🚠)长跳肚皮舞的劳拉(lā )（玛丽亚·费力克斯 María Félix 饰）是台柱一般(bān )的存在。

借此机会，海希(🍗)江得以静下心从(cóng )事印尼小(💉)说的翻译工作，朔子则总算可以(yǐ )在远离父母的环境下长舒(⛷)一口气。

平时非常小气的赵良(🤗)，竟然慷慨解囊，把(bǎ )给女儿办嫁妆的钱掏了出来。

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 Bartó(🚕)k’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.。

五十岁老妇(〽)人(rén )梅恰，就住在这片沼泽地的边缘，她与她(tā )的表妹塔丽在这儿经营着一座农场，她们(men )各(🕧)有四个小孩，各有一个老公，两(😮)个家庭(tíng )在沼泽边挣扎着生存，但是这一年夏天，两个意外事(🏎)件让她们面临了生存的(de )挑战(🚲)……。

三年前，十五岁的他因入室抢(qiǎng )劫被捕，庭审前，李律师私(⬛)吞了张家打算(suàn )疏通安慧的(❌)两万元钱，这事张家和安慧并(⏸)(bìng )不知情，服刑期间，张帅的母亲抑郁去世(shì )，出狱后张帅决定(🍼)搜集安慧“受贿”的证(zhèng )据，让她(🔇)也尝尝牢狱之苦。