赶马车干苦力(🔫)活的叔叔、夜晚捕鱼的不知名男子，寡言(yán )的信雄用眼睛注视着这些(🏄)贫民区的人们(❇)。

上世纪80年代初的西班(bān )牙正处于大变革之中，瓜达尔(ě(🐴)r )基维尔(ěr )流域(🎺)的沼泽地上有一座偏远小镇，一件极其残忍的少女凶杀案(àn )就发生于(🕒)此。

王承彦早年丧妻(qī )，十五年过去，如今也有了再次婚配的念头。

一个介(📋)于(⛏)分租房(fáng )和黑社会之间的环境，妓院是(shì )艺术家的工作室，纳粹在街上(🔕)大肆辱骂，巴贝尔斯堡则梦想着(zhe )制作心理电影。

当张帅将所谓(wèi )的“证据(🍥)”提供给检察院(📛)时，安慧反而对他能用法律武器解决问题感(gǎn )到高兴。

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.。

昆汗比比(Cunhambebe)是印第安塔穆约(Tamoyo)部落武装反抗葡萄(táo )牙人的同(🙈)盟(🕒)领袖，这个部落现(xiàn )今分布于里约热内卢至圣保罗之间。