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"No one loves anyone for more than two years" is an adaptation of Nelson Rodrigues' work about five couples that live in Brazil in the early 60's, who are seen by the society as conventional people, but whose intimate lives turn out to be morally questionable. This cinematic artwork addresses the decline and eventual dismissal of the chorus of ancient Greece from epic drama. Figured as a marginalized representative of 'the people' the film proposes a contemporary wandering chorus that engages the populous through "Star Wars Episode 3: Revenge of the Sith". Taking aim at the rhythmic efficiency of a corporate Hollywood franchise this cinematic recut tests the possible agency of the collective voice. Through choral banter, song and dance, the character replies to the sophomoric philosophy of the film, asking whether the loss of a plural subject correlates to the decline of traditional democratic ideals in popular forms of narrative storytelling. A transplanted American living the boho life, Charlotte "Charlie" Parks (Nekrasova) glides through Berlin's streets on her bike, clad in stylish items she steals from mall boutiques. Her larcenous method — using a magnet to desensitize security tags — works until it inevitably doesn't. Faced with the possibility of jail time (her "I'm a victim of late capitalism" defense doesn't fly with the German court), she needs to come up with the euros for a hefty fine. At the same time, she's being considered for a prestigious poetry grant, the prospect of which is more scary than thrilling for her: "I'll be like a real adult." This cinematic artwork addresses the decline and eventual dismissal of the chorus of ancient Greece from epic drama. Figured as a marginalized representative of 'the people' the film proposes a contemporary wandering chorus that engages the populous through "Star Wars Episode 3: Revenge of the Sith". Taking aim at the rhythmic efficiency of a corporate Hollywood franchise this cinematic recut tests the possible agency of the collective voice. Through choral banter, song and dance, the character replies to the sophomoric philosophy of the film, asking whether the loss of a plural subject correlates to the decline of traditional democratic ideals in popular forms of narrative storytelling. 开封城(🏯)内四大商(🎭)贾接连被(✉)盗，盗者散(🏟)财于民，侠盗驾临，全城轰(hō(😓)ng )动。四(😺)大商(🚾)贾云集开(🆗)封府集体(⏹)报官(🌎)，开封府迎来少有的热闹。包(👞)拯坐(⏱)堂，发现众(🔑)人所(suǒ )指(🔒)(zhǐ )盗(🐈)(dào )贼(⛵)(zéi )竟(jìng )然(rán )是(shì )白(bái )玉(yù(🐳) )堂(táng )。 八(bā(🐪) )侍(shì )卫(wè(💰)i )为(wéi )了(le )保(🚊)(bǎo )护(🚍)(hù )王(wáng )继(jì )，维护国家的安(👲)定自(🍉)愿受死，黑(🦅)上太人控(😣)制朝(🏎)中大局，朝中已经大乱，正在此(cǐ(🍪) )时(shí )镇(zhè(🥈)n )守(shǒu )边(biā(🕠)n )关的风侯(💛)带着十万兵马赶来， 风侯提(🕷)出让(🐮)他的(🏟)儿子风继(⌚)承王位！原(🕴)来八(🐩)侍卫早已被风侯所救。 风是(♓)八侍(😪)卫之一，一(😦)直以来记(😽)忆都(🈵)被惊(🕎)魂钟封印，见到风(fēng )侯(hóu )后(😣)(hòu )才(cái )被(🎇)(bèi )唤(huàn )起(📁)(qǐ )之(zhī )前(😂)(qián )所(🏖)(suǒ )有(yǒu )的(de )记(jì )忆(yì )，原(yuán )来(📑)(lái )他(💢)(tā )是(shì )风(👺)(fēng )侯的儿(❣)子，现(🗼)在如果要立新君，风的王族血统(😇)显然比黑(🆗)上太人更(🙉)占优势。 风(🔛)住(zhù )到(dào )皇(huáng )宫(gōng )，居然发现黑(🚃)上太(🛩)人女儿花(🆗)之娥是自(🔎)己失(🆓)散多年的童年伙伴小轩，而英却(🖤)发现风口(🎆)中的小轩(🎼)其实是自(🥒)己…… 英向八侍卫其他成(📉)员说明情(🐽)况，其他人(🥤)的态度(dù(🅾) )也(yě(⬆) )开(kāi )始(shǐ )变(biàn )得(dé )奇(qí )怪(🍜)(guài )起(⚓)(qǐ )来(lái )，事(📥)(shì )情(qíng )越(🚇)(yuè )发(🕶)(fā )复(fù )杂(zá )，风(fēng )侯(hóu )、风、花(🔅)之娥……(👆)他们的目(🥜)的各自是(🦊)什么(😰)，一切又陷入谜团。 監禁され(♟)た9人(👫)の男(nán )女(🐃)(nǚ )は、“ゲ(💄)ーム(📳)マスター”から殺人ゲームの開(🔟)始を宣言(🚌)される。彼(🤦)らはプレ(🤪)イヤーとして「殺人寿司(🐲)ゲーム」(🖋)への参加(👒)を強制さ(⌛)れ…(🎦) 故事发生在1977年，四个大(dà )学(🍉)(xué )同(💞)(tóng )学(xué )聚(🐫)(jù )会(huì )举(🕵)(jǔ )行(🚡)(háng )婚(hūn )前(qián )派(pài )对(duì )，在(zài )肯(kě(🚍)n )塔(tǎ )基(jī(🤫) )州(zhōu )的(de )重(🐿)(chóng )温波旁(🌷)威士(🛥)忌之旅的途中寻找埋藏的(🖥)宝藏(💧)，结果却被(🔄)贪婪、腐(🌧)败和(🤱)凶杀所分化(huà )……