昆汗比比(Cunhambebe)是印第安塔穆约(Tamoyo)部(😵)落武装反抗葡萄牙人的同盟领袖，这个部落现(😶)今(jīn )分布于里约热内卢至圣保罗之间。

九岁的他是个失聪儿童，聪明懂事，对父亲(✔)充满期(qī )待。

重案组队(duì )长裴小海将他带入警(🍈)局，并怀疑他与近日城市连环杀人案有关。

在战(🚧)火(huǒ )中，赫斯上校(xiào )尽量保护和照(❌)顾这些孤儿。

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.。

不久(🎞)两人的孩子出(chū )生了，大民也(yě )更加忙起来了(📨)。

莉兹拒绝了即将逝世的丈夫戴维要见儿子的(🚰)要求，不久(jiǔ )她便告诉法兰(lán )基，父(🎇)亲已经(jīng )逝世了。