相(xiàng )传(chuán )警(jǐng )方(fāng )派驻(🕐)了(➕)上(🏿)千(🏻)卧(🐑)底(😱)深(🍷)入(💌)黑(🔲)帮(🕰)，就等时机成熟把社(shè )团(tuán )一(yī )网(wǎng )打(dǎ )尽(jìn )。此时警方雄图大志，将潜伏已久终于爆发(🥫)的行动命名为“百年孤寂”。洪(hóng )兴(xìng )社(shè )树(shù )大招风，社团里各个话事人开始草木皆兵。相反(🆕)(fǎ(🚃)n )洪(🚦)(hó(🍘)ng )兴(🛳)(xì(🌺)ng )老(🎧)(lǎ(🦗)o )大(🔠)(dà(🎚) )淡(🐤)(dà(🦎)n )定(📵)(dì(🤮)ng )自若，他的女人苏菲（秦海璐饰）替他周旋于各帮派期间，力稳局势(🐃)(shì(🐺) )。
未(🥃)(wè(👨)i )来(🈺)(lá(🥤)i )，科(🧘)(kē(🌭) )技(🧀)昌(📲)明，城市成为中心，也是能源的集中地。
这(zhè )是(shì )一(yī )个(gè )关(guān )于(yú )英国“光头仔”群体的故(🚂)事。1983年的英国，正处于一个动荡时期。12岁的叛(pàn )逆(nì )少(shǎo )年(nián )沙(shā )恩在放学回家的路上遇到(👎)了(📆)一(😀)群(💟)“光(🤽)头(⚽)仔(🤢)”，在(🉑)(zà(🔖)i )同(🏡)(tó(🤩)ng )他(🔣)(tā(❣) )们(🗜)(men )大(dà )打(dǎ )出(chū )手后沙恩也成为了他们中的一员。令沙恩没有想到(👖)的(🤯)是(❄)，这(🎼)些(🌑)人(🍶)竟(🎞)成(📜)(ché(⛴)ng )为(🕸)(wé(📛)i )他(tā )日(rì )后(hòu )最(zuì )好的朋友甚至亲如一家人。他们一起，在一个(gè )灰(huī )色(sè )的(de )年(nián )代(dà(❇)i )里(lǐ )分享自己的成长和喜怒哀乐。
萨部泽库黑从城里来了，还带回了一男一(yī )女(nǚ )两(liǎng )个(👁)(gè(⬇) )牧(🍅)(mù(🗨) )童(🍼)，尽(🕉)管(🤸)村(🕙)里(🕘)有(🕤)好(🏮)几(⛓)户(⚾)人(🤼)家都正需要牧童，但在(zài )他(tā )们(men )看(kàn )来(lái )，眼(yǎn )前这两个瘦小枯干(👁)、(💗)畏(🎥)畏(🥊)缩(😙)缩(🐾)的(🌜)孩(✴)子(👟)也(😗)许(♈)还不能照顾好自己，何况看(kàn )护(hù )羊(yáng )群(qún )，因(yīn )此纷纷离去，只有塞夫阿里留了下来。阿(🥥)里的父(fù )亲(qīn )生(shēng )病(bìng )卧(wò )床(chuáng )，生活几乎不能自理，妻子诺勾又怀有身孕，因此他急求一(🚏)个(🏈)牧(🍠)童(🔲)。小(🈁)(xiǎ(🦉)o )男(🥂)(ná(🍳)n )孩(⚽)(há(🥛)i )名(💽)(mí(📉)ng )叫(🥠)(jiào )莫(mò )瑞德，小女孩是他的妹妹，叫洛宾，阿里为了(le )考(kǎo )察(chá )莫(mò )瑞(ruì(🐆) )德(🔍)(dé(🛫) )，让(🍿)他(🍁)到(🕶)上(👼)百(🚼)只(🍲)羊(⏳)中找出怀孕的一只。谁知莫瑞德不但很快便正确找出(chū )了(le )怀(huái )孕(yùn )的(de )养(yǎng )，还分辨出了哪(🍷)只养流过产、哪只身体状况如何(hé )等(děng )等(děng )。见(jiàn )阿(ā )里还在犹豫，莫瑞德急切地说，他和(🕧)妹(🚎)妹(🗒)只(🌖)要(🏝)一(❤)份(😑)工(☝)钱(🚘)，只(🖲)要(🍓)他(🐂)能(🔭)负担(dān )两(liǎng )个(gè )人(rén )的(de )食(shí )宿，而妹妹洛宾可以帮助他做家务。阿里(🔒)这(🍬)才(🌝)(cá(🎏)i )将(💉)(jiā(🕹)ng )兄(😈)(xiō(🦋)ng )妹(✏)(mè(🎱)i )俩(liǎng )领(lǐng )回(huí )了家。
当获奖归来的摄影爱好者老瓦驾车行驶在乡间公路上时，他无意(yì )中(zhōng )撞(zhuàng )飞(fēi )了(le )路中央的一只小兔子。事发现场，老瓦因为内疚(jiù )而(ér )细(xì )心(xīn )照(zhào )顾(gù )起(📲)了(🐀)这(🏥)只(🍳)兔(🚘)子(🈴)，一(✴)只(💘)可(🈲)能(🗻)是(🚰)肩(💲)负(🖋)着指引老瓦迷失的灵魂的毛茸茸的勇士(shì )。
Alfred lives with his mother in a small village, keeping chickens and selling eggs at the local market. He doesn't speak, except to his mother and to children. He has a girlfriend of sorts, although he shies away from any physical contact with her. But more than anything, Alfred wants a child. As natural fatherhood is out of the question he takes the next best option, and makes an application to adopt. With a very un-French lack of bureaucracy Alfred's adoptive son arrives, but turns out not to be the bouncing baby he was hoping for. More quietly oddball than Delphine Gleize's first feature Carnages (winner of the BFI's Sutherland Award in 2002), and filmed using a more muted palette, this is still a distinctly bizarre tale. The absurd comedy of the situation makes Alfred's efforts to be a good parent all the more touching, and our hearts go out to him as he struggles with learning how to give and receive love. Despite being almost wordless throughout, Darry Cowl succeeds in giving a wonderfully expressive performance as Alfred, but it is veteran actress Esther Gorintin who steals the show as his unconditionally loving mother.