这个男人M（马库·佩尔托拉MarkkuPeltola饰）是一个(gè )失忆的流浪汉，没有名字，亦没有过去。

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.。

这(🎾)时(🦆)候(🍮)云(➖)芳失恋了，大民默默陪伴安慰终于得到了云芳的芳心。

他的风格是微妙的尖(jiān )锐，冷血的轻快，却又安静忧郁。

镇上(shàng )一个(gè )很受欢迎的女孩突然(😮)失(💂)踪，几年后(hòu )她的尸体被发现，汤川的同学、高级警(jǐng )探草薙顺平(北村一辉饰)逮捕了一名男性(xìng )嫌疑人，但该名嫌疑人因警方缺乏证据而被(👂)释(🈷)放(😕)。

之(👚)后(😤)，一位亲王爱上了妮妮，打算给夜总会投资，可眼红的劳拉却破坏了这(zhè )桩生(shēng )意。

一位法国人Arduíno Colassanti被图皮南巴俘获(huò )。

只(zhī )要还有工作，拥有德国研究(📥)博士学(xué )位的雅各布·法比安白天写广告文案，晚上就和斯蒂芬·拉布德一起频繁出入(rù )城市中比较荒诞的场所。

奥迪尔寄宿在一所豪华大(🐬)宅(⏬)里(📅)，她(🏂)告(📗)诉弗朗茨，这所屋子里存放着巨额现金。

自封是桃江“河长”的(de )老厂长张清水（牛犇饰）极力要制止儿(ér )子张(zhāng )秋江（吕良伟饰）的非法排污行为(🍝)(wéi )，身患绝症后仍誓死守望“母亲河”。