厉害了我的叔

　　1955年的智利，著名作家玛丽亚·卡罗琳娜·盖尔杀死了自己的情人。案件得到负责此案的法官秘书梅赛德斯的关注。在参观作家的公寓后，梅赛德斯开始质疑自己的生活、身份以及女性在社会中的角色，因为她在那所房子里找到了一片自由的绿洲。

　　省下派村第一书记林思冬和山村女教师沈青儿通过自媒体宣传家乡的风光和民俗文化，共同的事业和爱好使他们相知到相恋，抒写了青梅林里一段动人的爱情故事。

　　蓝绍华豪迈潇洒，由国外归来，蓝绍华父亲本为知名的工商钜子，十年前遭林崇海玩骗，蓝父自杀，蓝母也相继病逝，蓝绍华四处寻找林崇海，他誓言一定要搜集林崇海不法证据，将林崇海绳之以法。宋中个性耿直，他受雇於胡振中，在振中实业公司任业务专员，宋中搭乘火车，适逢角头-薛老大欺凌歌女杨丽英，宋中及时援手，杨丽英感恩图报，一再跟踪宋中，宋中不胜其烦，藉机溜之大吉

　　鬼太监桂德海将楚王及王妃杀死，更追杀世子朱锦，朱锦得青竹叟相救才幸免于难。桂当年与哑巴月仙诞下一女燕燕，桂恐此事外泄，竟派人去杀月仙母女。燕燕得青竹婆相救，带她住见青竹叟及朱锦。朱锦与燕燕相处日久，感情渐深；桂竟利用父女之情，假借燕燕之手杀朱锦......

　　黄梓贤的父亲曾经弃甲逃逸，使得宛平城千名无辜百姓惨遭日军屠戮，留下骂名。黄梓贤希望在战场上为家族争回荣耀，于是弃笔从戎，与叔父黄基立师长一同投军抗日。黄师再次驻扎宛平城，宛平城里没有人忘记两年前黄师撤退造成的惨剧，梓贤更未料在这里遇到了心爱的女人——镇长之女茹莺，然茹莺恨透了黄师，因为她的未婚夫全家正是由于黄梓贤父亲弃城逃跑，遭遇不测，她坚信未婚夫未死，耐心等候。可是为了全镇百姓安危，茹莺又不得不嫁给本来不爱的黄梓贤。这桩政治婚姻里，两个人互相折磨，又彼此温暖。可是乱世中的爱情总是因苦难而荡气回肠，梓贤最终死在战场上，但求仁得仁，他还了父亲欠下的债，也得到了茹莺的真情。

　　“你的邻居是纳粹！你的邻居是纳粹！……”
　　美国克利夫兰一名退休祖父被遣送至以色列接受审判，他被指控是臭名昭著的纳粹死亡集中营守卫“恐怖伊凡”。

　　John Wood left the pieces of a broken civilisation behind, to go back to his roots in the woodland, after a virus pandemic struck the world. Residing in a simple cabin, he only wants peace and to live in harmony with nature. Coming from a long line of timber men, he joined the army and served as a soldier for many years. Rebelling against his superiors for killing civilians under martial law. John feels he got his own wife killed when saving hundreds of innocent civilians from certain death. His wife executed point blank as retribution for John's disobedience and supposed heroic acts. Now, a young woman named Maria Johnson has escaped a pandemic research lab. She's been part of experiments to find a cure for the still raging virus. Carrying the potential cure in her blood, she is hunted by profiteers and mercenaries who knows her secret. Coming upon John's cabin in the woods, Maria is instinctively taken into shelter by John. He wants her to recover fast and leave, but by learning her...

　　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.