『CUSTOM MADE 10.30』～Angel Works 見習い編～

话落，少年(nián )白皙的指(🍖)尖(🎽)，突然出现一把(🦔)锋利的匕首，本源异能者的精血，他必须拿到。

这是她不想看到的，便冷着脸问：不要瞒着我(wǒ(➿) )！到底(dǐ )为什么打架？谁先(📯)出了手？

好呀，那(💶)你就去告，到时候我也告你个谋(⏰)财害命，到时候你没准就要被关上(shàng )几年，等(děng )你出来了，我小姑早就嫁(🐛)人了！反正我也是一个寡妇，光脚的不怕穿鞋的，不(🏉)怕什(🈷)么！张秀娥冷哼了一(yī )声。

Mixture of documentary and fiction about the dictatorial 1930s. With archive footage of 'kino newsreels', a script that is loosely based on the utopian fantasies of Fritz Lang and about the forbidden passionate love affair between a photographer and his model. The Dark Night takes Oleg Kovalov a little closer to his target: to write a complete history of the twentieth century in the language of film. Not a documentary or chronological history, but a lyrical, subjective and poetic history. In Sergei Eisenstein - An Autobiography, we witnessed the stormy 1920s and the blossoming culture of that era, in Scorpion's Garden we saw the paranoia of the Cold War and the thaw that followed. The Dark Night, just like Concert for a Rat before, is on the subject of the dictatorial 1930s. Kovalov has little faith in the documentary as a means to find truth. He does not think that the truth can be found within existing genres. So his films transgress those genres. Documentary and fiction are just as difficult to distinguish in his work as fictional characters from concrete people in old newsreels and other archive footage. That also goes for The Dark Night. The film combines archive footage from the Third Reich with a script that is loosely based on the fantasies of Fritz Lang: a lyrical thriller with horror elements. As the stylised black & white images have all been shot in reconstructed studio sets, the film has the mood of the 1930s cinema.

聂夫人恨恨的看着(zhe )聂凤琳(lín )，她知道聂凤琳这是(shì )逼她呢！

早餐结束，慕浅原准备(🚊)自己送霍祁然去上学的，霍靳西(xī )却临时提出要一起(🖤)。

慕浅喝了口茶，看向他(🍠)，缓(huǎn )缓道(👖)：你这个问题很不专(🦕)业，可是我还是愿意回答你。请你转(🐛)告他，他为我豁出性命，我心(🔰)存感激(jī )。他也曾对我心存杀念，我侥幸躲过，两两相抵吧。

p港渔村死亡跨海大桥, 以及军事基地最左边的悬崖峭壁。

维(wéi )也纳盛大的皇家(📃)婚礼之后，茜茜（(🐧)罗密·施奈德 Romy Schneider 饰）开始皇后的生活。她慢慢地调(diào )整自己以适应(🏘)奥地利宫廷生活，但她发现与皇太后苏菲（玛达·施耐德 Magda Schneider 饰）相处非常(🚽)艰(jiān )难。专(zhuān )横的皇太后恪守着皇室的陈规陋(🎦)习，并不(🎰)断地向弗(🛠)兰兹（卡尔亨兹·伯恩 Karlheinz Böhm 饰(🍉)）灌输应该怎样(yàng )遵守皇室(🅰)法规去经营帝国(🎌)(guó )和家庭。茜(🐝)(qiàn )茜(qiàn )的女儿出生(📠)之后，她和苏菲(fēi )之间的矛盾进一步激(😶)化。苏菲依据(🍍)皇室的规矩不让茜茜自己抚养女儿，而弗兰兹竟然(🌛)顺从(🎬)母(mǔ )意，让茜茜与(yǔ )女儿(🙅)无法在一(yī )起。伤心失望的茜茜只身一人回到巴伐利亚。愧疚(jiù )弗兰兹立刻追随而至，劝服茜茜和他一起返回奥地利。这(zhè )时，苏菲也不得不改(gǎi )变主意同意茜茜抚养女儿。之后，茜茜伴随弗兰兹出访多国，在匈牙利她受到了热(rè )烈的欢迎，他们在匈牙利人民的欢呼声中加冕为奥匈帝国的国王和皇后。