随着长夜临近，约瑟芬(fēn )越来越发现身边的这(🤽)位异域(✔)女子与自己(jǐ )有着太多的共鸣。

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 Fä(🚷)hmel 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.。

根据死里逃生的Cunhambebe俘虏海员施塔(tǎ )登(Hans Staden)的回忆录描述，图皮(🥅)南巴(Tupinambá)族人是食(shí )人族，凶残而且好斗。

そして物語のラス(📨)トでは、育児や父の病状に悩む朝顔(yá )が家族とともに(📖)岩手・陸前高田市を訪(fǎng )れ、娘たちを見つめながらあ(🎤)る決断(😊)をする。

她采取了夜班和情况颠倒过来，当一系列(liè )奇怪的(🚳)事件造成的尸体之一储存在太平(píng )间。

木排漂流到双河街(🐱)，盘老五为了急(jí )救生命垂危的徐区长，要去买人参，但(dàn )偏(🧒)偏钱又不够。