在16世(👯)纪以(yǐ )前，当地的图皮人一直都是奴(nú )隶。

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，并为自己的未来做出(❎)行(háng )动……。

大民的厂里终于分(🦁)配(pèi )给他一套楼房，但一直期待拥(yōng )有自己房间的(🎁)小妹在这时候因患有绝症离世(🏑)了，大民痛心不已……。

吴爱花接受了盘老五给徐区(🚅)(qū )长送人参的委托，可人参又被(bèi )李家栋一伙劫去。

五十岁老妇(fù )人梅恰，就住在这(➿)片沼泽地的边缘，她与她的表妹塔丽在这儿经营(yí(🚻)ng )着一座农场，她们各有四个小(xiǎ(🦐)o )孩，各有一个老公，两个家庭(tíng )在沼泽边挣扎着生存(💇)，但是这一年夏天，两个意外事件(🐋)让她们面临(lín )了生存的挑战……。

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.。

当这个男人回小镇里时，他又(yòu )出现在了女孩家人面前，向他们挑衅。

烦(📛)恼、苦闷与不平缠绕着他(tā )们，无法解脱，只好无聊(🚩)地吵(chǎo )嘴，发泄地殴斗，苦闷地酗(📺)酒(jiǔ )。

影片改编自垣谷美雨的同名小说，天海在片中(💵)饰演以节约为宗旨(zhǐ )的主妇后(📨)藤笃子。

终于，某日(rì )，李堂得到了一个上场比赛的(de )机(😺)会，展现出了令人折服的技艺，然(🆔)而，却有奸人从中作梗，让李堂的地位一跌再跌。