这个男人M（马库·佩尔托拉MarkkuPeltola饰）是一个失忆的流浪(😆)汉，没(méi )有(yǒu )名字，亦没有过去。

Michael Powell teamed with actor James Mason (who also co-produced) to make a film loosely based on the life of controversial Australian artist Norman Lindsay. Age Of Consent stars Mason as a jaded painter who heads Down Under looking for a way to revitalize his creative soul. His self-imposed exile is interrupted by Cora, an uninhibited young woman on her own journey of self-discovery. The Age of Consent (1969), is Powell's final film, centers on James Mason as a disenchanted painter who finds a new muse in a tropical island model (a radiant and sensual, often nude Helen Mirren, in her first movie role).。

为了救回女儿，顾致远和原本关系冷淡的亡妻姊妹唐小唯联手，踏上了(⏪)一场关于生命、关于亲情也关于自我的救赎(shú )之(zhī )旅(lǚ )。

很多年过去，身为黑车司机的白子西终于(🐄)在街道上看到了拿着龙骨伞的裴小海，他夜闯裴小海家中企图偷走龙骨伞，反被裴小海擒住(zhù )。

因(yī(👃)n )为一次抛锚，对班丽娜昔日表演难以忘怀的修理工老巴得以加入他们的旅程。

终于，某日，李堂得到了(👰)一个上场比赛的机会，展现出了令(lìng )人(rén )折(shé )服的技艺，然而，却有奸人从中作梗，让李堂的地位一跌(🎗)再跌。

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(luò )现(xiàn )今(jīn )分布于里(🕜)约热内卢至圣保罗之间。

高考失利的朔子（二阶堂富美 饰）在落寞中迎来了炎热的暑假。

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.。

父(fù )亲(qīn )虽已有妻、子，却是贪恋年轻男孩身体的同性恋者，家庭对他早已名存(🛁)实亡，已丧失承担责任的能力（或认为并没什么责任要承担），可(kě )是(shì )对于小康，他又不自觉扮演(🆚)起传统意义上的“父亲”角色，却也只能是失职的。