他对柯内(💵)莉亚的爱是唯一让他质疑(💣)自己讽刺宿命论的东西。

第(🗣)二次的行动，会(huì )带来怎么样的灾难性(xìng )后果？。

警察的追查不但让男人陷入了麻烦的境地，还让他(tā )得知自(🦓)己的身世，以(yǐ )及自己曾经(🎗)拥有的家庭。

他的女儿玛丽(🚡)亚则是生命维护主义者，她一直在艾伦娜(nà )就诊的医院前进行抗(kàng )议。

吴爱花述说(🕰)了自己的不幸身世，盘老五(🔼)向她解释了当年离去的原(🎺)因，他用诚(chéng )挚的热情和力量，唤(huàn )起了爱花生活的信念。

为了腾出更多的地方，大民推倒围墙(qiáng )建起了一间房(👛)间，以(yǐ )解决房间不够的问(⏪)题。

借此机会，海希江得以静(👔)下心从事印尼小说的翻译工作，朔子则总算可以在远(yuǎn )离父母的环境下长舒一口(👁)气。

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.。

自此，湘鄂(è )西洪湖根(🖐)据地，沔阳(yáng )东南方又掀起(🍂)革命斗争风暴，为湘鄂西洪湖根据地革命斗争(zhēng )史写下了光辉的一页(yè )。