在老家，汉克见到了久违的父亲约瑟夫，一位当了一辈子地方法官的固执老人，父子两人之间紧张的关系并没有因为岁月的变(biàn )迁而发生任何改变。

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 Fä(🥑)hmel 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.。

然而这短(duǎn )短的一分钟彻底改变了(le )班上同学的命运，许多(duō )人从此被东德安全局视为眼中钉，加以监视和迫害。

拉美西斯十二世病重去世，他的儿子拉美西斯十三世被宣布为法老继承人。

重案组队长裴小海将他带入警局，并怀(huái )疑他与近日城市连环杀(shā )人案有关。

第二次的行(háng )动，会带来(🏙)怎么样的灾(zāi )难性后果？。

赶马车干(gàn )苦力活的叔叔、夜晚捕(bǔ )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。