战后，他内(📩)心内疚，不能回去继续传教，于是就重新参加美国空军，来到朝(⚫)鲜战场给韩国空军训练首批战斗机驾驶员。

浩瀚广大的(🍣)沙漠(💏)，几(jǐ )乎无人可生存(cún )，而水源是唯(wéi )一上帝所赋予(yǔ )的(🆒)最大财富。

镇上一个很受(shòu )欢迎的女孩突然失踪，几年后她的(🛃)尸体被发现，汤川的同学、高级警探草薙顺平(北村一辉饰)逮(💫)捕了一名男性嫌疑人，但该名嫌疑人因警方缺乏证据而被释(😦)放。

时任中共地下湖北、湖南两省省委宣传部(bù )长的邓(😧)昌伦(💐)（原沔阳县彭场(chǎng )镇沙岭村人），受组织委派(pài )，回到沔(🔶)阳家(jiā )乡，领导革命(mìng )斗争。

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.。

因为(🐫)失忆，他无法拥有合理的身份证明，无法找到住处和工作。

十年(🌆)后，精神受了重创的劳伦被找回来......这个家庭被十多年前(🐏)的这(🔸)场悲剧不断地萦绕着。

改(gǎi )秀上木排后，胆小怕事的赵(zhà(🕵)o )良担(🎮)心李家栋(dòng )追查，盘老五(wǔ )又见义勇为，同意承担起一切(🍡)后果，这样，才把改秀留到了木排上，跟他们一起漂流。