The City on the River is a tragicomedy about the ultimate triumph of human virtues in the face of systematic, institutional inhumanity.。

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.。

该片根据真实事件改编，讲述在葡萄牙法(💦)(fǎ )蒂玛(📙)，三个孩子声称目睹了圣母玛利亚(yà )显灵，并预言了灾难即将来临。

Sam, journaliste indépendant, profite de sa culture musulmane pour infiltrer les milieux intégristes de la banlieue parisienne. Il se rapproche d’un groupe de quatre jeunes qui ont reçu pour mission de créer une cellule djihadiste et semer le chaos au cœur de Paris.。

在16世纪以(🎪)前，当地(🔶)的图皮人一直都(dōu )是奴隶。

法兰基得知父亲的船即将靠岸(àn )了，想见父亲一面。

亨利（让·(📕)迦本 Jean Gabin 饰(💶)(shì )）经(📷)营着一家夜总会，进行一些下流艳俗的(de )表演，擅长跳肚皮舞的劳拉（玛丽亚·费力克斯 Marí(🅱)a Félix 饰）(📎)是台柱一般的存在。