艾崔德斯公爵遭到敌(😙)人哈肯南男爵(jué )的袭击，失去了沙丘星球(🔔)(qiú )的管理所有权。

他们的父亲是令人尊重(⛑)(chóng )的医生，尼古拉斯却和他(tā )关系(xì )疏远。

母亲的意外去世让汉克不得不回到了印第安纳老(🥓)家，那里是他的故乡，却有着他最不愿意回(👆)忆起的往事。

来自马德里(lǐ )的警探帕德罗(👧)（劳尔·阿雷瓦罗 Raúl Arévalo 饰）和搭档胡安(⤵)（哈维尔·古铁雷斯 Javier Gutiérrez 饰）奉命来调(dià(👣)o )查此事。

可是，旧时有爱情，今天的苦(kǔ )难，却(🌐)又象一根无形的链(liàn )条把他们的心紧紧连在一起。

The City on the River is a tragicomedy about the ultimate triumph of human virtues in the face of systematic, institutional inhumanity.。

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.。

三人风风火(🐃)火的踏上旅程，上了年纪的班丽娜于路对(🤵)往事(shì )讳莫如深，与年轻躁动的费莉茜生(🖕)出不少琐碎口角，米芝则不时(shí )陷入对自(➿)己那场婚姻的回忆。