The male protagonist is a chorus pianist and falls in love with the female protagonist (who has murdered his father) who came to apply for the chorus. The male protagonist could not bear to sing odes to Stalin under the totalitarian rule, and proposed to the female protagonist to escape from Poland. On that day, the heroine did not come, and the reason given was: "You are too good, I am not good in every way, I am not worthy of you." A few years later, the hero and heroine met in Paris, France. It turned out that the heroine He escaped from Poland by "necessary means" by marrying an Italian, who was also married to a poet. But the hostess said: "We just held a simple wedding, and we didn't hold a ceremony in the church, so it doesn't count." The two met, and their love rekindled. Soon, the heroine lived with the hero, and the hero also abandoned the poetess. Despite this, the heroine is still jealous of the poetess, not willing to sing the songs she wrote lyrics, and even mocking me at the banquet: "'The pendulum kills time', what does this mean?" The poetess Say: "It's a metaphor, a metaphor! (C'est une Metaphor!)" The hostess said to the mirror in the bathroom, "Metaphor." She seemed to realize that her cultural level was still inferior to that of a female poet, and she felt a little depressed. The male protagonist uses the female protagonist to make a deal with the film director in exchange for the opportunity to use his own soundtrack. The male protagonist said when the female protagonist was putting on makeup: "You don't have to apply it too thickly, you will look good like this." This is something in his words, because he also has a sentence: "Take care of Marshall (that director)." He was in Poland before. Shi also never praised the heroine, just kept making love with the heroine. Finally one day the hostess couldn't take it anymore and said, "I thought you were a man in Poland, now here? You can't compare to Marshall at all," she paused and said, "He fucked me six times in one night. "It turns out that the male protagonist asked the female protagonist to do a sex deal with the director in order to win out. He really is a down-to-earth musician. The male protagonist slapped the female protagonist, and the female protagonist covered her face and bent over, speechless. The next day, the heroine disappeared. The male protagonist is staring at the empty bed in the empty room (the camera is quite positive at this time) in a daze. He went to ask the director, and there was a naked woman on the director's bed. He quickly closed the bedroom door and said, "She should be going back to Poland." Stop, the man said: "Are you really a Pole? You fled from the motherland, did you really love the motherland? Now you are neither Polish nor French here, you are nothing to us. It's equivalent to nobody, I think it's very difficult to do. Unless..." The male protagonist returned to Poland, but was arrested and sentenced to 15 years in prison. The heroine came to see him in the small cabin of the reception room, kissed him on the chair, and said, "I will find a way to save you." The hero was rescued, and listened to the heroine on the stage in the karaoke hall. Sing while talking to the heroine's husband. "Look, this is my daughter, does she look like me?" the husband asked the male lead. "It's very similar, very similar," said the male protagonist. "The reason why I was able to get you out of prison ahead of time is to thank the minister for being our neighbor," said the husband. The female lead came to them after singing the song. "Mom is here," said the husband. When the heroine saw the hero, the first thing she did was to hug him and kiss him, leaving her husband aside. He hugged his daughter awkwardly. The female protagonist said to the male protagonist, "Come with me for a while." They hugged in the bathroom, and the female protagonist said, "Take me with you." The male protagonist said, "I am here for this." They drove to the countryside. The countryside is barren, with only lonely road signs and no one. They found a dilapidated church with crumbling walls and no roof. They knelt before the cross. "I, XXX·XXX, would like to be your husband and stay with you, no matter whether you are sick or poor poor until death separates us. ” said the female bishop and the male lead. “I, XXX·XXX, would like to be your wife and stay with you, no matter disease or poverty, until death separates us. said the hostess. "Amen." She finally said. They each made a cross on their chests. In this way, the wedding ceremony was completed. The heroine said to the hero: "Now I am yours." The male protagonist held her in his arms. They walked out of the church and sat on the bench beside the grassland. They were silent for a long time. The female protagonist said, "The scenery is better over there, let's go over there." "Get up and walk away. The male protagonist also leaves with the female protagonist. They walk out of the screen. Shady. At the end of the film, the director's inscription: "Dedicated to my father and mother." "The male and female protagonists must have gone to another world. The film came to an abrupt end like "Happy Lazzaro". The nature of this abrupt end seems to be the characteristic of modern or contemporary films, the so-called "modernity" "Unfinishedness" because the story doesn't seem to be finished. I see fiery love in this story, but I don't think such fiery love - no matter how long it is apart, it must be kissing when you meet - is impossible It's hard to tell how much sensuality is in it. In the context of the times, their escape and their coming and going between the two systems seem to be too easy, like a child's play. Although there is a price, this The price is all downplayed, overshadowed by the fiery passion. We get a fiery love, and an abrupt, cold, tragic ending. The taste of this film is strange. It's like most sweets, and Something tasteless, animal, lust, mixed with indifference, cold, sad. It's solid at the end, like a sugar cube, but it doesn't melt, although it never melts in the previous parts It has never been liquid, and the director's split shooting method never gave the film a sense of fluidity, but only presented it as a solid crystal. Everyone is violated, maybe there was no liquid love in that era, only granular, fiery love, in the twitch of lust, in the transaction, in the deep kiss between the mouth and the mouth, in the hug, in the marriage. in the ceremonies before the cross, in the water, in the singing of the lips, in the grand theatre, on the stage, in the auditorium, in the café, in the dance, in the barren meadow, in the long On the bench, in the off-screen world they went to. In the dark. In the cold war years, love can only solidify as it is said to be. For your wife, by your side, in sickness and poverty, till death separates us. said the hostess. "Amen." She finally said. They each made a cross on their chests. In this way, the wedding ceremony was completed. The heroine said to the hero: "Now I am yours." The male protagonist held her in his arms. They walked out of the church and sat on the bench beside the grassland. They were silent for a long time. The female protagonist said, "The scenery is better over there, let's go over there." "Get up and walk away. The male protagonist also leaves with the female protagonist. They walk out of the screen. Shady. At the end of the film, the director's inscription: "Dedicated to my father and mother." "The male and female protagonists must have gone to another world. The film came to an abrupt end like "Happy Lazzaro". The nature of this abrupt end seems to be the characteristic of modern or contemporary films, the so-called "modernity" "Unfinishedness" because the story doesn't seem to be finished. I see fiery love in this story, but I don't think such fiery love - no matter how long it is apart, it must be kissing when you meet - is impossible It's hard to tell how much sensuality is in it. In the context of the times, their escape and their coming and going between the two systems seem to be too easy, like a child's play. Although there is a price, this The price is all downplayed, overshadowed by the fiery passion. We get a fiery love, and an abrupt, cold, tragic ending. The taste of this film is strange. It's like most sweets, and Something tasteless, animal, lust, mixed with indifference, cold, sad. It's solid at the end, like a sugar cube, but it doesn't melt, although it never melts in the previous parts It has never been liquid, and the director's split shooting method never gave the film a sense of fluidity, but only presented it as a solid crystal. Everyone is violated, maybe there was no liquid love in that era, only granular, fiery love, in the twitch of lust, in the transaction, in the deep kiss between the mouth and the mouth, in the hug, in the marriage. in the ceremonies before the cross, in the water, in the singing of the lips, in the grand theatre, on the stage, in the auditorium, in the café, in the dance, in the barren meadow, in the long On the bench, in the off-screen world they went to. In the dark. In the cold war years, love can only solidify as it is said to be. For your wife, by your side, in sickness and poverty, till death separates us. said the hostess. "Amen." She finally said. They each made a cross on their chests. In this way, the wedding ceremony was completed. The heroine said to the hero: "Now I am yours." The male protagonist held her in his arms. They walked out of the church and sat on the bench beside the grassland. They were silent for a long time. The female protagonist said, "The scenery is better over there, let's go over there." "Get up and walk away. The male protagonist also leaves with the female protagonist. They walk out of the screen. Shady. At the end of the film, the director's inscription: "Dedicated to my father and mother." "The male and female protagonists must have gone to another world. The film came to an abrupt end like "Happy Lazzaro". The nature of this abrupt end seems to be the characteristic of modern or contemporary films, the so-called "modernity" "Unfinishedness" because the story doesn't seem to be finished. I see fiery love in this story, but I don't think such fiery love - no matter how long it is apart, it must be kissing when you meet - is impossible It's hard to tell how much sensuality is in it. In the context of the times, their escape and their coming and going between the two systems seem to be too easy, like a child's play. Although there is a price, this The price is all downplayed, overshadowed by the fiery passion. We get a fiery love, and an abrupt, cold, tragic ending. The taste of this film is strange. It's like most sweets, and Something tasteless, animal, lust, mixed with indifference, cold, sad. It's solid at the end, like a sugar cube, but it doesn't melt, although it never melts in the previous parts It has never been liquid, and the director's split shooting method never gave the film a sense of fluidity, but only presented it as a solid crystal. Everyone is violated, maybe there was no liquid love in that era, only granular, fiery love, in the twitch of lust, in the transaction, in the deep kiss between the mouth and the mouth, in the hug, in the marriage. in the ceremonies before the cross, in the water, in the singing of the lips, in the grand theatre, on the stage, in the auditorium, in the café, in the dance, in the barren meadow, in the long On the bench, in the off-screen world they went to. In the dark. In the cold war years, love can only solidify as it is said to be. done. The female protagonist said to the male protagonist, "I am yours now." The male protagonist held her in his arms. They came out of the church and sat on a bench by the meadow. They were silent for a long time. The heroine said, "The scenery over there is better, let's go over there." Get up and walk away. The male protagonist also left with the female protagonist. They come off the screen. Shady. At the end of the film, the director wrote an inscription: "Dedicated to my father and mother." The male and female protagonists must have gone to another world. The film comes to an abrupt end like "Happy Lazaro". This abrupt end seems to be characteristic of modern or contemporary cinema, the so-called "unfinishedness" of "modernity" because the story doesn't seem to be finished. I've seen fiery love in this story, but I don't think such fiery love - no matter how long it is apart, it must be a kiss when you meet - is impossible. It is impossible to say how much sensuality there is in it. Tossing and turning against the background of the times, their escape and their coming and going between the two systems seem to be too easy, as easy as a child's play. Although there is a price, it is downplayed and overshadowed by fierce passion. We see a violent love affair with an abrupt, cold, pathetic ending. The taste of this film is strange. It is like most sweets, mixed with some tasteless, animalistic, lustful, and indifferent, cold, sad. It's solid at the end, like a sugar cube, but it doesn't melt, although it never became liquid in the previous parts, the director's split shooting method never gave the film a sense of fluidity, but just It appears as a solid-state crystal, and its introduction of "preemptive" is an abrupt violation. Maybe everyone was violated in that era, maybe there was no liquid love in that era, only granular, fiery love, in erotic twitches, in transactions, in the deep kiss of mouth and mouth, in In hugs, in marriages, in ceremonies before the cross, in water, in the singing of lips, in the theatre, on the stage, in the auditorium, in the cafe, in the dance, in the deserted On the grass, on the bench, in the off-screen world they were walking towards. in the dark. In the cold war years, love can only solidify and take shape as it says. done. The female protagonist said to the male protagonist, "I am yours now." The male protagonist held her in his arms. They came out of the church and sat on a bench by the meadow. They were silent for a long time. The heroine said, "The scenery over there is better, let's go over there." Get up and walk away. The male protagonist also left with the female protagonist. They come off the screen. Shady. At the end of the film, the director wrote an inscription: "Dedicated to my father and mother." The male and female protagonists must have gone to another world. The film comes to an abrupt end like "Happy Lazaro". This abrupt end seems to be characteristic of modern or contemporary cinema, the so-called "unfinishedness" of "modernity" because the story doesn't seem to be finished. I've seen fiery love in this story, but I don't think such fiery love - no matter how long it is apart, it must be a kiss when you meet - is impossible. It is impossible to say how much sensuality there is in it. Tossing and turning against the background of the times, their escape and their coming and going between the two systems seem to be too easy, as easy as a child's play. Although there is a price, it is downplayed and overshadowed by fierce passion. We see a violent love affair with an abrupt, cold, pathetic ending. The taste of this film is strange. It is like most sweets, mixed with some tasteless, animalistic, lustful, and indifferent, cold, sad. It's solid at the end, like a sugar cube, but it doesn't melt, although it never became liquid in the previous parts, the director's split shooting method never gave the film a sense of fluidity, but just It appears as a solid-state crystal, and its introduction of "preemptive" is an abrupt violation. Maybe everyone was violated in that era, maybe there was no liquid love in that era, only granular, fiery love, in erotic twitches, in transactions, in the deep kiss of mouth and mouth, in In hugs, in marriages, in ceremonies before the cross, in water, in the singing of lips, in the theatre, on the stage, in the auditorium, in the cafe, in the dance, in the deserted On the grass, on the bench, in the off-screen world they were walking towards. in the dark. In the cold war years, love can only solidify and take shape as it says. a world away. The film comes to an abrupt end like "Happy Lazaro". This abrupt end seems to be characteristic of modern or contemporary cinema, the so-called "unfinishedness" of "modernity" because the story doesn't seem to be finished. I've seen fiery love in this story, but I don't think such fiery love - no matter how long it is apart, it must be a kiss when you meet - is impossible. It is impossible to say how much sensuality there is in it. Tossing and turning against the background of the times, their escape and their coming and going between the two systems seem to be too easy, as easy as a child's play. Although there is a price, it is downplayed and overshadowed by fierce passion. We see a violent love affair with an abrupt, cold, pathetic ending. The taste of this film is strange. It is like most sweets, mixed with some tasteless, animalistic, lustful, and indifferent, cold, sad. It's solid at the end, like a sugar cube, but it doesn't melt, although it never became liquid in the previous parts, the director's split shooting method never gave the film a sense of fluidity, but just It appears as a solid-state crystal, and its introduction of "preemptive" is an abrupt violation. Maybe everyone was violated in that era, maybe there was no liquid love in that era, only granular, fiery love, in erotic twitches, in transactions, in the deep kiss of mouth and mouth, in In hugs, in marriages, in ceremonies before the cross, in water, in the singing of lips, in the theatre, on the stage, in the auditorium, in the cafe, in the dance, in the deserted On the grass, on the bench, in the off-screen world they were walking towards. in the dark. In the cold war years, love can only solidify and take shape as it says. a world away. The film comes to an abrupt end like "Happy Lazaro". This abrupt end seems to be characteristic of modern or contemporary cinema, the so-called "unfinishedness" of "modernity" because the story doesn't seem to be finished. I've seen fiery love in this story, but I don't think such fiery love - no matter how long it is apart, it must be a kiss when you meet - is impossible. It is impossible to say how much sensuality there is in it. Tossing and turning against the background of the times, their escape and their coming and going between the two systems seem to be too easy, as easy as a child's play. Although there is a price, it is downplayed and overshadowed by fierce passion. We see a violent love affair with an abrupt, cold, pathetic ending. The taste of this film is strange. It is like most sweets, mixed with some tasteless, animalistic, lustful, and indifferent, cold, sad. It's solid at the end, like a sugar cube, but it doesn't melt, although it never became liquid in the previous parts, the director's split shooting method never gave the film a sense of fluidity, but just It appears as a solid-state crystal, and its introduction of "preemptive" is an abrupt violation. Maybe everyone was violated in that era, maybe there was no liquid love in that era, only granular, fiery love, in erotic twitches, in transactions, in the deep kiss of mouth and mouth, in In hugs, in marriages, in ceremonies before the cross, in water, in the singing of lips, in the theatre, on the stage, in the auditorium, in the cafe, in the dance, in the deserted On the grass, on the bench, in the off-screen world they were walking towards. in the dark. In the cold war years, love can only solidify and take shape as it says. The taste of animality, the taste of lust, mixed with the taste of indifference, coldness, and sadness. It's solid at the end, like a sugar cube, but it doesn't melt, although it never became liquid in the previous parts, the director's split shooting method never gave the film a sense of fluidity, but just It appears as a solid-state crystal, and its introduction of "preemptive" is an abrupt violation. Maybe everyone was violated in that era, maybe there was no liquid love in that era, only granular, fiery love, in erotic twitches, in transactions, in the deep kiss of mouth and mouth, in In hugs, in marriages, in ceremonies before the cross, in water, in the singing of lips, in the theatre, on the stage, in the auditorium, in the cafe, in the dance, in the deserted On the grass, on the bench, in the off-screen world they were walking towards. in the dark. In the cold war years, love can only solidify and take shape as it says. The taste of animality, the taste of lust, mixed with the taste of indifference, coldness, and sadness. It's solid at the end, like a sugar cube, but it doesn't melt, although it never became liquid in the previous parts, the director's split shooting method never gave the film a sense of fluidity, but just It appears as a solid-state crystal, and its introduction of "preemptive" is an abrupt violation. Maybe everyone was violated in that era, maybe there was no liquid love in that era, only granular, fiery love, in erotic twitches, in transactions, in the deep kiss of mouth and mouth, in In hugs, in marriages, in ceremonies before the cross, in water, in the singing of lips, in the theatre, on the stage, in the auditorium, in the cafe, in the dance, in the deserted On the grass, on the bench, in the off-screen world they were walking towards. in the dark. In the cold war years, love can only solidify and take shape as it says.
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