影片根据美国作家吉姆·汤普森的小说《POP.1280》改编，导演塔维尼埃将原着故事发生地美国南部改为30年代的北非殖民地，讲述了一段发生在当地警察头目身上的黑色喜剧。

影片根据美国作家吉姆·汤普森的小说《POP.1280》改编，导演塔维尼埃将原着故事发生地美国南部改为30年代的北非殖民地，讲述了一段发生在当地警察头目身上的黑色喜剧。

前警官格里什·德米特里耶夫作为一小群俄罗斯教官的一员抵达中非共和国。格里什的旅行似乎并不复杂，因为教官的任务只包括训练当地军队的士兵掌握战斗战术和方法的基本技能。然而，事情从一开始就不对劲。一些帮派前往首都发动政变。俄罗斯教官与他们的学生一起击退暴徒。但对于从未参加过敌对行动的格里莎来说，这次旅行变成了一场真正的地狱。 　　俄罗斯评分网站条目：https://www.kinopoisk.ru/film/4446084/

前警官格里什·德米特里耶夫作为一小群俄罗斯教官的一员抵达中非共和国。格里什的旅行似乎并不复杂，因为教官的任务只包括训练当地军队的士兵掌握战斗战术和方法的基本技能。然而，事情从一开始就不对劲。一些帮派前往首都发动政变。俄罗斯教官与他们的学生一起击退暴徒。但对于从未参加过敌对行动的格里莎来说，这次旅行变成了一场真正的地狱。 　　俄罗斯评分网站条目：https://www.kinopoisk.ru/film/4446084/

全新大型网络家装设计真人秀《就匠变新家》，力求打造一档“最有趣、最有用、最具话题”的网络综艺节目。每期将针对1位业主的改造难题，邀请7位才华横溢的设计界全能资深大咖共同应战，提交多套改造方案。除此之外，常驻主持朱桢及其一众圈内明星好友，也将与设计师们齐聚一堂鼎力合作，只为帮业主创造更好的生活。

全新大型网络家装设计真人秀《就匠变新家》，力求打造一档“最有趣、最有用、最具话题”的网络综艺节目。每期将针对1位业主的改造难题，邀请7位才华横溢的设计界全能资深大咖共同应战，提交多套改造方案。除此之外，常驻主持朱桢及其一众圈内明星好友，也将与设计师们齐聚一堂鼎力合作，只为帮业主创造更好的生活。

In the 1830's, the island of Quemada in the Antilles is a Portuguese colony - that is, until an English agent provocateur arrives and inspires the black slaves to rise and expel the colonial authorities. However, as is always the way with revolutions, a group of middle-class power brokers seizes political control and the people's aspirations are betrayed. 　　Ten years pass, and the sugar industry now requires peace and stability on Quemada. The continuing guerilla campaign by the dispossessed blacks is harming profits. The very same English adventurer is once more despatched to the island, this time to hunt down and eradicate the revolutionaries he created. 　　Marlon Brando plays Sir William Walker in his best Fletcher Christian English accent and a blonde wig with a life of its own. His is a thoughtful performance, putting across the complexity of the man, a character who is undoubtedly cynical and unscrupulous, but who is also an emotional man and something of a political philosopher. He is certainly effective at what he does. 　　The direction of Gillo Pontecorvo is somewhat erratic at times. There are points where the narrative is confused, and the gold robbery which drives the plot somehow got left on the cutting-room floor. Jose Dolores' rise to power is the most significant event in the story, but we see nothing of it. During the voodoo carnival, two of the participants are wearing 20th-century soccer shorts. The film's central pivot, the passage of ten years between Walker's two visits to the island, is handled very sketchily by means of a few incongruous London scenes and a voice-over narration. 　　But there are good things, too. When Santiago's widow hauls her husband's body away, the masonry of the fort stands as a silent metaphor of colonial power - harsh, overbearing and sterile. Brando has some fine speeches, musing on the nature of political legitimism. The fire scenes are visually arresting (though it would have sufficed to have two or three guerillas being shot as they emerged from the burning sugar cane: seven or eight is labouring the point), and Walker is positively luminous against the tortured black shapes of the charred forest, showing in symbolic form that this man thrives on the suffering of the blacks, and that destruction is his natural element.

In the 1830's, the island of Quemada in the Antilles is a Portuguese colony - that is, until an English agent provocateur arrives and inspires the black slaves to rise and expel the colonial authorities. However, as is always the way with revolutions, a group of middle-class power brokers seizes political control and the people's aspirations are betrayed. 　　Ten years pass, and the sugar industry now requires peace and stability on Quemada. The continuing guerilla campaign by the dispossessed blacks is harming profits. The very same English adventurer is once more despatched to the island, this time to hunt down and eradicate the revolutionaries he created. 　　Marlon Brando plays Sir William Walker in his best Fletcher Christian English accent and a blonde wig with a life of its own. His is a thoughtful performance, putting across the complexity of the man, a character who is undoubtedly cynical and unscrupulous, but who is also an emotional man and something of a political philosopher. He is certainly effective at what he does. 　　The direction of Gillo Pontecorvo is somewhat erratic at times. There are points where the narrative is confused, and the gold robbery which drives the plot somehow got left on the cutting-room floor. Jose Dolores' rise to power is the most significant event in the story, but we see nothing of it. During the voodoo carnival, two of the participants are wearing 20th-century soccer shorts. The film's central pivot, the passage of ten years between Walker's two visits to the island, is handled very sketchily by means of a few incongruous London scenes and a voice-over narration. 　　But there are good things, too. When Santiago's widow hauls her husband's body away, the masonry of the fort stands as a silent metaphor of colonial power - harsh, overbearing and sterile. Brando has some fine speeches, musing on the nature of political legitimism. The fire scenes are visually arresting (though it would have sufficed to have two or three guerillas being shot as they emerged from the burning sugar cane: seven or eight is labouring the point), and Walker is positively luminous against the tortured black shapes of the charred forest, showing in symbolic form that this man thrives on the suffering of the blacks, and that destruction is his natural element.