Tombatossals, la leyenda

张(🐵)玉敏(mǐn )想了想感慨了一句：要是能有一根金钗(💋)就好了！

菊花看着张秀娥，什么不敢来讨东西？张秀娥一共就来要过一把青菜，之前已经送过鱼来答谢了，这个时候又送了肉来！

徐氏之前的时候和张大江有点恩怨(yuàn )，不(bú )然这个(🕍)时候也不会这样主动来说张大江的(de )私事。

莫越看韩明那是(🔸)越生气，要送也是他送(sò(🏗)ng )才(🚢)对，关这个小萝卜头什么事？

这还真是冤枉赵秀才了，赵秀才(🐂)这个人文文弱弱的，说话(👡)的时(shí )候从(cóng )来都是这样的语气，可不是只(zhī )有面对张(zhāng )秀娥的时候才是这样的。

A fictional narrative and a documentary interview are mixed together in this film about two women deprived of independence for many years because of either their family obligations or an authoritarian spouse. In the fictional segment, based on a novel by Alexandra Kollontai (the first Soviet ambassador to Sweden and an early advocate of women's rights), the young woman Vassilissa (Sascha Hammer) learns how to stand up to her womanizing husband (Mark Eins). Director Rosa von Praunheim plays this story out in the tone of an early 20th century "morality" play. The second focus of the film is about Helga Goetze, a mother of seven children who left her brood when she was 50 years old (and her youngest was already 16) to join the Otto Muehl Commune in Vienna and live a liberated life of sexual freedom, filled with involvement in the arts, literature, and politics. Helga moved to the Kreuzberg district of West Berlin, where the on-camera interview was conducted. Director Praunheim opted for interspersing fictional and documentary segments so as to better chronicle the move toward independence and sexual "liberation" on the part of the two main female protagonists.

三位女朋友遭到了她(🈵)们的丈夫的忽视和虐待，她们计划在(🍔)一位(🌽)有这方面经验的(de )男人的帮助(🏈)下对他们进行报(bào )复。

身后的地(dì )板上呆坐着一个女人，她身(🈷)旁不远处是摔在地上的小包，手机、镜子、口红等散(🚁)落一地。

1913年(🍸)，努纳武特地区，主人公库纳纳(nà )狩猎(🚌)回家后发现自己的(de )妻子和女儿被(😸)绑架，其(qí )他家(🍂)人则全(quán )被屠杀。在他父亲精神的帮助下，他得以反转自己(🎧)的命运，终与家人(♋)团(🍸)聚。

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