Make Me an Offer

对于(yú )这个一直处于隐身(shēn )的女人，她可是很感兴趣，耳边还回荡着女人刚刚说的那句话，一个女人生活在末世不容易。

For generations, it was an urban legend that lived in the nightmares of children. Now, the season to rejuvenate the tale will revive a town's darkest fears. With the Scarecrow Festival on

她此时忍无可忍的出了家门，直接就奔着镇子上(shàng )去。

霍靳西原本就独(🐥)断独行惯了，对其他股东的不同(tóng )意见基本只是听听，很少认真纳入考量，然而这一次，他第一次心平气和地听完了邝(😅)温二(🐉)人说的话。

滴血的(🌴)獠牙泛(🍙)着森森寒光，解决(🔽)完黑狼，顾潇潇仰头便看(kà(🍛)n )见(jiàn )头狼的血盆大口(kǒu )。

陆沅微微点了点头，却又听陆与川道：爸爸最(🚧)(zuì )近要筹备周(🔃)年(📩)庆的事情，都没时间问你，你跟你那个男朋友，怎么样了？他最近好像都没(🥩)怎么露面？

韩雪不用脑袋想都知道(🍈)，这几(jǐ )个人不(bú(😿) )会去楼上(🏇)，只会在一楼。

LIVE IN CALIFORNIA '74 给(⬜)我们一个完美的机会在加州的洛杉矶欣赏到Deep Purple的精彩室外(wài )演唱会。热烈介(🕕)绍乐队的(de )新歌手David Coverdale , 乐队将(jiāng )从他们的发(fā )烧大碟中精(jīng )选出数首金曲，包括(🚲)大家喜欢非常的"Smoke on the Water." DVD还包含(hán )十分罕见的乐队后台准备(🔵)情况短片，以及一条评论音(📮)轨，几张精挑细选(xuǎn )的照片。

Louis XIV is no newcomer to Albert Serra’s filmography, the hero of his latest opus to date, The Death of Louis XIV (2016). This Sun King features a twin, even though, in the game of differences, it turns out that there are quite a few. Instead of Jean-Pierre Léaud, a non-professionnal actor whom Serra already worked with in his first films. Very different body weight, here in expansion, there in retention; a different way of putting his face in it: there, at the service of an astonished child’s gaze, here, singularly chubby, as if extending without any solution to all of his corpulence; here, the invention of sovereignty constantly reinvented, and there, the kingdom of innocence vaguely struck by idiocy. And the props: if the tale in the first version needed Versailles or an imitation of it, the second one reduces the palace to a luminous halo. True, this time we are stuck between bare walls, white-washed with pink coating (the color of twilight?) under neon lights at the ceiling. Here, for a long time, this king has been left to his own devices, moaning on the floor, with a stomach ache as severe as it is hilarious, with rare trinkets all around. Then we see spectators entering the field to see Her Majesty’s rants, his hair (as wigs were called then) and sumptuous clothes characteristic of that era, and spectators dressed in anorak. So what, then: capturing a performance? If the art gallery really frames the « action », what we find here is calculation, cutting up, montage; in short: a film, and no misunderstanding. And a film whose paths familiar to everyone Serra’s work point to: aristocracy in all its grandeur, its stupidity and its agony, the representation of power, the forces of art. Between the sublime and the grotesque, between derision and the derisive, between Buñuel and Dali, a royal figure engages in a quest for his death mask.