The residents of a soon to be demolished building have set up a temporary autonomous zone to declare war on a world where utopia and poetry have gone astray. They are a kind of Situationist urban guerilla, spending their days creating havoc at both a material and immaterial level. They recite, declare, discuss, perform and console. A woman is kidnapped, close combat is mimed, pubic hair formed into a mustache. Many of their joyfully nonsensical actions go round in circles, a sign already of their ironic self-reflection: When it comes down to it, they are merely an aesthetic imitation of the slogans, gestures and postures of ʼ60s and ʼ70s political and artistic practice. Ultimately, the residents announce the end of their own avant-garde movement and abandon their building to demolition.

Before the period of the innocent musicals (known as chanchadas), the Atlântida Company produced this unique bittersweet melodrama in the early brazilian cinema. Directed by José Carlos Burle, who would be a famous due to chanchadas, this movie is till now very searched by historians and fans of Grande Otelo and mainly of Cacilda Becker.

奶(nǎi )奶，你劝你还是(shì )别作了，到最后(hòu )丢人的不(🧐)是我，而是你，你年纪大了或许不怕丢人，可是的(🅰)小姑还有张宝根，那都是快(kuài )要成亲的人(🥏)，你就不怕找不到好人家吗？张秀娥好心的提(🖱)醒了(🐝)一句。

她回家以后，把家里和花有关的(🚌)东西，全部丢掉了。

片名：飞吧，足球(🦐)

于是一回头(🌼)，对着日天日地的顾潇潇吼道：你(nǐ )，把帽子戴上。

她到家时，李氏还没回来，小李氏正在往堂(💸)屋端饭菜，家中的男人都去收拾荒地，午饭在家(jiā(⬜) )吃的就只有女人和孩子，今日(🍙)的(de )饭菜就简单得(🥅)多，连个鸡蛋都没。桌子上(🦀)只两盘炒青菜(cài )，那暗黄色的粗粮馒头都是不多的(de )。

她脚步微(🤫)顿，回头看了眼身后跟着的人，喊了句：蒋慕沉。

沈宴州还没(🌍)吃，正坐在车里看文件。他打电话时，车(chē )子停在了jm集团(tuán )的楼下，齐霖打开车门，躬身道：沈(shěn )总，到了(🍃)。