平时非常(cháng )小气的(🖤)赵良(liáng )，竟然慷慨(kǎi )解囊，把给(gěi )女儿办嫁(🔃)妆(zhuāng )的钱掏了出(chū )来。

九岁的他是个失聪(🔷)儿童，聪明懂事，对父亲充满期待。

吴爱花述(⏫)说了自己的不幸身世，盘老五向她解释了(♒)当年离去的原因，他用诚挚的热情和力量，唤起了爱(🔣)花生活的信念。

一番唇枪舌剑，二人离下誓(🐥)约，东(dōng )方明亮立志(zhì )在一年之内(nèi )只爱(🕕)月英一(yī )人，若能不(bú )变心则取月(yuè )英为(🏆)妻。

在(zài )16世纪以前，当地的图皮人一直都是(🎀)奴隶。

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

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.。