张帅（陈思成 饰）服刑三年出(chū )狱后，决(✊)定对当年审判他的法官安慧(🚊)（奚美娟 饰(shì )）施实报复。

可是他不知道，一切都是母亲的善(shàn )意的谎言，虚构了父亲的一(🚩)切，事实上他(tā )们到处搬家就(😟)是想要摆脱父亲残酷的家庭暴力。

这部电影就像一个缓慢转(👹)动的迪斯科球，讲述了(le )性行为(👒)和空冰箱之间的联系，以及幸福梦想的瓦(wǎ )解。

可是他不知道(📼)，一切都是母亲的善意的谎言(🤣)(yán )，虚构了父亲的一切，事实上他们到处搬家就是(shì )想要摆脱父亲残酷的家庭暴力。

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 Bö(👘)ll’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.。

为了对(✒)起义的死者(zhě )表示悼念，他们和同班同学们决定，一起在课堂(😾)(táng )上无视老师，突发沉默一分(🛥)钟。

随着受害者母亲(qīn )（内瑞雅·巴德洛斯 Nerea Barros 饰）提供的关键(🌊)线索，案件(jiàn )更加地扑朔迷离(🐸)，而在调查过程中帕德罗(luó )也发现(xiàn )了胡安不为人知的过去，更让人不安的是(shì )社会的腐(👪)败，以及小镇人民的贫穷与冷(🙎)漠，两人(rén )都面对着极大的挑战。

随着与父亲的关系越来越(yuè(📵) )紧张，尼古拉斯觉得自己必须(🌘)要做出选择，并为(wéi )自己的未来做出行动……。

浩瀚广大的沙(🚚)漠，几(jǐ )乎无人可生存，而水源(🍆)是唯一上帝所赋予(yǔ )的最大(🐄)财富。

随着与父亲的关系越来越紧张，尼(ní )古拉斯觉得自己必(💏)须要做出选择，并为自己的未(🖊)(wèi )来做出行动……。