纽约的=๐Ÿ™‚女人们

纽约的=๐Ÿ™‚女人们

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554ๆฌกๆ’ญๆ”พ่ฏ„ๅˆ† 5.0
A film๐Ÿ˜˜๐Ÿ˜‡๐Ÿ˜ƒ vers๐Ÿ˜œ๐Ÿฅฐion๐Ÿ˜”.+๐Ÿคช of a p;๐Ÿ˜ถ(l๐Ÿ˜๐Ÿ˜ ay Fassbi๐Ÿ˜†๐Ÿค•nde๐Ÿคข๐Ÿ˜œr di๐Ÿค:๐Ÿค’๐Ÿคซ๐Ÿค”rected in Hambur)g, :๐Ÿคฉ๐Ÿ˜ดClare B/[๐Ÿ˜šoo๐Ÿค•๐Ÿ˜<th L$๐Ÿ˜Šuce's The Women*๐Ÿ˜ด#. It gave Fassbinder an opp๐Ÿคข ortunity% t.๐Ÿ˜ช๐Ÿ˜†o indulge his @pass๐Ÿ˜‘ ๐Ÿ˜ถ๐Ÿ˜—ion fo๐Ÿ˜&r wo+rking w๐Ÿ˜™%๐Ÿคฃith women - th]๐Ÿคere are ๐Ÿ˜๐Ÿ˜ชforty women in the play and n"๐Ÿคจ๐Ÿค•๐Ÿ˜o men๐Ÿ˜„๐Ÿ˜๐Ÿ˜ƒ๐Ÿคจ.ใ€€<ใ€€T๐Ÿ˜‰:+๐Ÿคฅhe p๐Ÿ™ƒ๐Ÿ˜ท;lay dates from t๐Ÿ˜ฌ๐Ÿ˜’he 1930s, and๐Ÿฅฐ(๐Ÿ˜ช๐Ÿค’\ Fass/๐Ÿ˜†binder was acc๐Ÿ˜Œuse` ๐Ÿคคd b๐Ÿค•y*๐Ÿ˜‘ the c๐Ÿ˜Š:๐Ÿคซritics of๐Ÿค•-% bei๐Ÿ˜˜n๐Ÿ˜‰๐Ÿ˜„๐Ÿ˜‚๐Ÿ˜”`g an\๐Ÿ˜œ=๐Ÿ˜†ti๐Ÿ˜’๐Ÿค‘๐Ÿ˜-women (a frequent ๐Ÿค‘๐Ÿ˜š#$criticism of lat'๐Ÿ˜‹๐Ÿ˜še). A\&s usual, he chose to wor=๐Ÿ˜‡*k๐Ÿ˜ช๐Ÿฅฐ` ๐Ÿคชa#๐Ÿ˜‡๐Ÿ˜๐Ÿ˜ถgai;:n๐Ÿ˜‘๐Ÿ˜st the t๐Ÿ˜„_=ext๐Ÿคญ:, a๐Ÿ˜๐Ÿ˜’nd from this h๐Ÿค”๐Ÿ˜‘๐Ÿ˜as construct๐Ÿ˜œed a ๐Ÿค” n en๐Ÿค๐Ÿ˜ถ๐Ÿค”\te๐Ÿ™„/r@tain<^(i๐Ÿ˜ฌ๐Ÿ˜Œng a๐Ÿคซ๐Ÿคคnd enga@ging play about lo๐Ÿคช<๐Ÿคฃv๐Ÿ˜!e between upper-class women with n๐Ÿ˜™๐Ÿ˜˜๐Ÿค—othing be t๐Ÿ˜š๐Ÿ˜˜te:๐Ÿคจ๐Ÿคชr ๐Ÿ˜‡(๐Ÿ˜ฌto๐Ÿ˜))๐Ÿคข๐Ÿ˜‹ ,$d๐Ÿ˜€o$๐Ÿค”  ;\than sneer at $others when thin]gs go๐Ÿ˜๐Ÿค’๐Ÿ™‚๐Ÿค๐Ÿ˜ ๐Ÿคช๐Ÿ˜’w๐Ÿ˜Œ๐Ÿคฅ@rong wit<\๐Ÿ˜ฌh t#he๐Ÿค—ir ๐Ÿ˜‚)li[๐Ÿคจ:๐Ÿค‘ves and loves.

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