纽约_๐Ÿค•的女人们

纽约_๐Ÿค•的女人们

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A f;๐Ÿค’>ilm version of ๐Ÿคซ๐Ÿ˜—a play๐Ÿ˜†" Fa&^-ssbinder directed๐Ÿ˜‹,๐Ÿ˜€๐Ÿ˜‰๐Ÿ™„ '๐Ÿ˜œ๐Ÿ˜…in ๐Ÿ˜‡๐Ÿ˜Ha๐Ÿ˜๐Ÿ˜๐Ÿ˜œ๐Ÿ˜ชmbu๐Ÿฅฐrg, Clar๐Ÿ˜‡ e ._[Boo<'th Lu๐Ÿ˜ด;\๐Ÿ˜š%c๐Ÿ˜ถ๐Ÿค’e's The W%๐Ÿคจ๐Ÿคช๐Ÿ˜,omen. I>/]๐Ÿ˜t๐Ÿ˜„๐Ÿ˜š& gave Fassbinder an opportuni-๐Ÿฅฐ๐Ÿ˜_ty t๐Ÿ˜o๐Ÿ˜‘ in-$dulge his๐Ÿ˜๐Ÿ˜.๐Ÿ˜€ ๐Ÿ˜…๐Ÿ˜ชpassion for wor๐Ÿคค๐Ÿ˜‹๐Ÿคซkin๐Ÿคญ๐Ÿค‘g with w๐Ÿ˜—๐Ÿค๐Ÿ˜˜o๐Ÿ˜:๐Ÿ˜men - there ๐Ÿ˜‡๐Ÿคa[']๐Ÿคญre forty w@๐Ÿ˜˜๐Ÿค‘๐Ÿ˜˜omen in!"๐Ÿ˜€ the p๐Ÿ˜ƒ๐Ÿคฅ๐Ÿ˜ช๐Ÿคขlay ๐Ÿ˜ƒ] and no men.$๐Ÿค—ใ€€ใ€€@The pla= y>๐Ÿ˜ด dates๐Ÿ˜›'๐Ÿ˜› from the 1930s, a)nd Fass๐Ÿ˜›_๐Ÿ˜Š๐Ÿคชbinder was accuse๐Ÿ˜˜๐Ÿคฉd b๐Ÿคค๐Ÿ˜Œ y the critics ([o๐Ÿค’f bei๐Ÿ˜˜? )ng an๐Ÿ˜‚๐Ÿ˜‹t๐Ÿค•๐Ÿ™„๐Ÿ˜…i-wom๐Ÿค—๐Ÿ˜†๐Ÿ˜ดen ๐Ÿ˜ท&๐Ÿ˜‡๐Ÿค(๐Ÿ˜‹a ๐Ÿ˜€๐Ÿ˜™f๐Ÿ˜‡๐Ÿ˜‚requent criticis๐Ÿ˜…m๐Ÿฅฐ๐Ÿ™‚ ๐Ÿค”=๐Ÿ˜of ๐Ÿ˜™๐Ÿ˜†l๐Ÿ˜ช*ate)๐Ÿ˜‚๐Ÿ˜™. A๐Ÿคช๐Ÿ˜Šs usual, he chose<\&๐Ÿ˜ฌ to๐Ÿ˜ถ work against the text,๐Ÿคซ!๐Ÿคซ and f๐Ÿ˜ฌ๐Ÿ˜„ rom this h๐Ÿคคas constructe๐Ÿค—!+@d๐Ÿ˜’๐Ÿ™‚@๐Ÿค‘ an entert๐Ÿคญ๐Ÿ˜—ai๐Ÿ™„(ning a๐Ÿ™„๐Ÿคnd๐Ÿค”๐Ÿ˜ฌ๐Ÿ˜„, enga๐Ÿ˜ gin๐Ÿ˜…:^g play abo๐Ÿ˜Š*ut love -๐Ÿค๐Ÿ˜๐Ÿ˜ถbetw๐Ÿ˜‰๐Ÿคช๐Ÿ˜…,e๐Ÿ˜๐Ÿค&en upper\"๐Ÿ˜ถ๐Ÿคจ-class wo๐Ÿ˜š๐Ÿ˜”๐Ÿ˜‹men with nothing๐Ÿ˜‰๐Ÿ˜˜ <๐Ÿ˜‹?better to *๐Ÿ˜Š๐Ÿคญdo than๐Ÿ˜˜๐Ÿคฎ)๐Ÿคฅ sn`eer,๐Ÿค— ๐Ÿ˜™;๐Ÿ˜š๐Ÿคat others when "^=things go๐Ÿคฉ ; ๐Ÿ™‚w,`๐Ÿ˜ฌ๐Ÿ˜Œrong wi๐Ÿ˜Œ๐Ÿคฅ๐Ÿ˜’๐Ÿ˜=th ๐Ÿค•๐Ÿ˜šthei`&๐Ÿ˜ถ[r lives and๐Ÿ˜„๐Ÿ˜! loves.

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