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.。

北方的沿海小城(🏆)生活着刘氏一(yī )家，脾气固执、恪守规矩独居(🌜)村中的爷(yé )爷刘士堺；嘴硬心软(🌂)、极爱面子的父亲(qīn )刘卫国；宠溺儿子、热(🈚)心公益的母亲王佩芬以及执着摄影梦想，在南(📡)方艰难谋生的(de )孙子刘守闯，但一家人已经很久没有一(yī )起吃过一顿晚饭了。

Healing romance between a man whose life is tiring because of things he says without meaning them and a woman who's afraid of life because of her closed heart.　　(♟)Dong-soo who has tic orders that make him swear without knowing it, visits Ye-ri's rooftop house twice a week to deliver daily necessities that's his job. Ye-ri is always shut in her room after the death of her younger sibling. While communicating with the world only by publishing Internet novels, she is comforted by Dong-soo. Twice in a week. Dong-soo and Ye-ri start talking about the things they have never told anyone before. She talks about her younger sibling who wanted to see an ocean without water and Dong-soo decides to her grant her that wish...will they make it。

吴爱花述说(shuō )了自己的不幸身世，盘老五向她(🚢)解释了当年(nián )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。

阿金(👤)找到李堂(táng )，想要以球决胜负，而他们的赌注，竟(🌱)然是两人的前途。

在他的训练下，韩国空军(jun1 )顺利(🛩)完成了一系列战斗任务。

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.。

在张帅十(shí )八岁生日之际(🔓)，一封神秘的信件揭开了尘封(fēng )的谜底……。

他(🎯)偶然得知心脏捐助者名(míng )叫让•维艾亚德，是一个55岁因头部重伤(shāng )死亡的老者(🔖)。