- wjm3u8
猜你喜歡
2002
0.0分
劇情片
HD
2002
0.0分
劇情片
HD
1991
0.0分
劇情片
HD中字
2017
0.0分
劇情片
?港,是?個?明、法治的社會,實在不應(yīng)該存在?個不仁道、無法無天的監(jiān)獄,尤其是?個負(fù)責(zé)收禁輕度罪犯,年齡由14歲至未滿25歲的青少年,美其名叫勞教中?。 被囚禁的犯?每天經(jīng)歷身、?、靈的虐打和侮辱,可以說那裡是?間地獄?! ≈鹘前⒎?,是?名古惑仔頭?,因?次與警員發(fā)?輕微衝突?被判入勞教中?。入獄後三?,已經(jīng)忍受不住獄中的殘暴對待?決定?殺。獲救後,靠著?份堅持要出獄探望病危外婆的信念,忍辱偷..
HD中字
2018
0.0分
劇情片
馬來西亞爆發(fā)神秘傳染病,當(dāng)?shù)厮帢I(yè)公司AMANAH研究的特效藥MD5成為救助病患的神丹妙藥??墒且恢备檲蟮涝摷膊〉挠浾咚蔚の囊馔馑劳觯鳤MANAH總裁張日善(鄭則仕 飾)的兒子在辦公室自殺身亡。經(jīng)警方調(diào)查,張公子純系他殺。與此同時,張公子的妻子彭珍美(周秀娜 飾)秘密跑到香港,她隨身攜帶的機密引起多方勢力的爭搶。香港警察王大偉(吳鎮(zhèn)宇 飾)與馬來西亞皇家警察警長李永勤(張智霖 飾)接頭,協(xié)助..
HD
1994
0.0分
劇情片
HD
《沒有和解》劇情介紹
6080提供影視作品沒有和解高清全集在線觀看的影視全集網(wǎng),劇情片《沒有和解》全集作品的導(dǎo)演是讓-馬里·斯特勞布 達(dá)尼埃爾·于伊耶 ,由Heinrich Hargesheimer Carlheinz Hargesheimer Martha Staendner 達(dá)尼埃爾·于伊耶 Henning Harmssen Ulrich Hopmann Joachim Weiler Eva-Maria Bold Hiltraud Wegener Ulrich von Thüna Ernst Kutzinski Karl Bodenschatz 主演,沒有和解在豆瓣的評分為0.0,本片由小編于2025-08-24 08:44更新,希望大家喜歡,可以把《沒有和解》推薦給你朋友,本作品的地址為 http://www.smskl.org.cn/movie/29624.html
《沒有和解》簡介: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 B?ll’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 F?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 F?hmel 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.