《关于在短时间内的某几个人的经过》电影高清完整版在线观看_关于在短时间内的某几个人的经过高清完整版下载-巴巴电影-免费电影网,手机电影院,vip热播短剧在线观看

影片信息

片名：关于在短时间内的某几个人的经过
状态：HD中字
主演：未知
导演：居伊·德波/
年份：1959
地区：法国
类型：剧情/
时长：内详
上映：未知
语言：法语
更新：2024-08-04 17:16
简介：Voice 1 (male professional announcer type) This neighborhood(1) was made for the wretched dignity of the petty bourgeoisie, for respectable occupations and intellectual tourism. The sedentary population of the upper floors was sheltered from the influences of the street. This neighborhood has remained the same. It was the strange setting of our story, where a systematic questioning of all the diversions and works of a society, a total critique of its idea of happiness, was expressed in acts.　　These people also scorned subjective profundity. They were interested in nothing but an adequate and concrete expression of themselves.　　Voice 2 (Debord, monotone) Human beings are not fully conscious of their real life - usually groping in the dark; overwhelmed by the consequences of their acts; at every moment groups and individuals find themselves confronted with results they have not wished.　　Voice 1 They said that oblivion was their ruling passion. They wanted to reinvent everything each day; to become the masters and possessors of their own lives.　　Just as one does not judge a man according to the conception he has of himself, one cannot judge such periods of transition according to their own consciousness; on the contrary, one must explain the consciousness through the contradictions of material life, through the conflict between social conditions and the forces of social production.　　The progress achieved in the domination of nature was not yet matched by a corresponding liberation of everyday life. Youth passed away among the various controls of resignation.　　Our camera has captured for you a few aspects of a provisional microsociety.　　The knowledge of empirical facts remains abstract and superficial as long as it is not concretized by its integration into the whole ” which alone permits the supersession of partial and abstract problems so as to arrive at their concrete essence, and implicitly at their meaning.　　This group was on the margins of the economy. It tended toward a role of pure consumption, and first of all the free consumption of its time. It thus found itself directly engaged in qualitative variations of everyday life but deprived of any means to intervene in them.　　The group ranged over a very small area. The same times brought them back to the same places. No one went to bed early. Discussion on the meaning of all this continued...　　Voice 2 Our life is a journey ” In the winter and the night. ” We seek our passage...�　　Voice 1 The abandoned literature nevertheless exerted a delaying action on new affective formulations.　　Voice 2 There was the fatigue and the cold of the morning in this much-traversed labyrinth, like an enigma that we had to resolve. It was a looking-glass reality through which we had to discover the potential richness of reality.　　On the bank of the river evening began once again; and caresses; and the importance of a world without importance. Just as the eyes have a blurred vision of many things and can see only one clearly, so the will can strive only incompletely toward diverse objects and can completely love only one at a time.　　Voice 3 (young girl) No one counted on the future. It would never be possible to be together later, or anywhere else. There would never be a greater freedom.　　Voice 1 The refusal of time and of growing old automatically limited encounters in this narrow, contingent zone, where what was lacking was felt as irreparable. The extreme precariousness of the means of getting by without working was at the root of this impatience which made excesses necessary and breaks definitive.　　Voice 2 One never really contests an organization of existence without contesting all of that organization's forms of language.　　Voice 1 When freedom is practiced in a closed circle, it fades into a dream, becomes a mere representation of itself. The ambiance of play is by nature unstable. At any moment ordinary life� can prevail once again. The geographical limitation of play is even more striking than its temporal limitation. Any game takes place within the contours of its spatial domain. Around the neighborhood, around its fleeting and threatened immobility, stretched a half-known city where people met only by chance, losing their way forever.　　The girls who found their way there, because they were legally under the control of their families until the age of eighteen, were often recaptured by the defenders of that detestable institution. They were generally confined under the guard of those creatures who among all the bad products of a bad society are the most ugly and repugnant nuns.　　What usually makes documentaries so easy to understand is the arbitrary limitation of their subject matter. They describe the atomization of social functions and the isolation of their products. One can, in contrast, envisage the entire complexity of a moment which is not resolved into a work, a moment whose movement indissolubly contains facts and values and whose meaning does not yet appear. The subject matter of the documentary would then be this confused totality.　　Voice 2 The era had arrived at a level of knowledge and technical means that made possible, and increasingly necessary, a direct construction of all aspects of a liberated affective and practical existence. The appearance of these superior means of action, still unused because of the delays in the project of liquidating the commodity economy, had already condemned aesthetic activity, whose ambitions and powers were both outdated. The decay of art and of all the values of former mores had formed our sociological background. The ruling class's monopoly over the instruments we needed to control in order to realize the collective art of our time had excluded us from a cultural production officially devoted to illustrating and repeating the past. An art film on this generation can only be a film on its absence of real creations.　　Everyone unthinkingly followed the paths learned once and for all, to their work and their home, to their predictable future. For them duty had already become a habit, and habit a duty. They did not see the deficiency of their city. They thought the deficiency of their life was natural. We wanted to break out of this conditioning, in quest of another use of the urban landscape, in quest of new passions. The atmosphere of a few places gave us intimations of the future powers of an architecture it would be necessary to create to be the support and framework for less mediocre games. We could expect nothing of anything we had not ourselves altered. The urban environment proclaimed the orders and tastes of the ruling society just as violently as the newspapers. It is man who makes the unity of the world, but man has extended himself everywhere. People can see nothing around them that is not their own image; everything speaks to them of themselves. Their very landscape is alive. There were obstacles everywhere. There was a cohesion in the obstacles of all types. They maintained the coherent reign of poverty. Everything being connected, it was necessary to change everything by a unitary struggle, or nothing. It was necessary to link up with the masses, but we were surrounded by sleep.　　Voice 3 The dictatorship of the proletariat is a desperate struggle, bloody and bloodless, violent and peaceful, military and economic, educational and administrative, against the forces and traditions of the old world.　　Voice 1 In this country it is once again the men of order who have rebelled. They have reinforced their power. They have been able to aggravate the grotesqueness of the ruling conditions according to their will. They have embellished their system with the funereal ceremonies of the past.　　Voice 2 Years, like a single instant prolonged to this point, come to an end.　　Voice 1 What was directly lived reappears frozen in the distance, fit into the tastes and illusions of an era, carried away with it.　　Voice 2 The appearance of events that we have not made, that others have made against us, now obliges us to be aware of the passage of time, its results, the transformation of our own desires into events. What differentiates the past from the present is precisely its out-of-reach objectivity; there is no more should-be; being is so consumed that it has ceased to exist. The details are already lost in the dust of time. Who was afraid of life, afraid of the night, afraid of being taken, afraid of being kept　　Voice 3 What should be abolished continues, and we continue to wear away with it. We are engulfed. We are separated. The years pass and we haven't changed anything.　　Voice 2 Once again morning in the same streets. Once again the fatigue of so many similarly passed nights. It is a walk that has lasted a long time.　　Voice 1 Really hard to drink more.　　Voice 2 Of course one might make a film of it. But even if such a film succeeds in being as fundamentally disconnected and unsatisfying as the reality it deals with, it will never be more than a re-creation ” poor and false like this botched traveling shot.　　Voice 3 There are now people who pride themselves on being authors of films, as others were authors of novels. They are even more backward than the novelists because they are unaware of the decomposition and exhaustion of individual expression in our time, ignorant of the end of the arts of passivity. They are praised for their sincerity since they dramatize, with more personal depth, the conventions of which their life consists. There is talk of the liberation of the cinema. But what does it matter to us if one more art is liberated through which Tom, Dick or Harry can joyously express their slavish sentiments The only interesting venture is the liberation of everyday life, not only in the perspectives of history but for us and right away. This entails the withering away of alienated forms of communication. The cinema, too, has to be destroyed.　　Voice 2 In the final analysis, stars are created by the need we have for them, and not by their talent or lack of talent or even by the film industry or advertising. Miserable need, dismal, anonymous life that would like to expand itself to the dimensions of cinema life. The imaginary life on the screen is the product of this real need. The star is the projection of this need.　　The images of the advertisements during the intermissions are more suited than any others for evoking an intermission of life.　　To really describe this era it would no doubt be necessary to show many other things. But what would be the point　　Better to grasp the totality of what has been done and what remains to be done than to add more ruins to the old world of the spectacle and of memories.　　1. This film, which evokes the lettrist experiences at the origin of the situationist movement, opens with shots of the Paris district frequented by the lettrists in the early 1950s.

5
微信扫一扫

复制下方链接，去粘贴给好友吧 -关于在短时间内的某几个人的经过复制链接
关注公众号观影不迷路
扫一扫用手机访问

选择来源

4.0

网友评分

很差
较差
还行
推荐
力荐

798次评分

4.0

网友评分

很差
较差
还行
推荐
力荐

798次评分

给影片打分《关于在短时间内的某几个人的经过》

很差
较差
还行
推荐
力荐

我也要给影片打分

扫一扫用手机访问

首页电影剧情片关于在短时间内的某几个人的经过

剧情简介

Voice 1 (male professional announcer type) This neighborhood(1) was made for the wretched dignity of the petty bourgeoisie, for respectable occupations and intellectual tourism. The sedentary population of the upper floors was sheltered from the influences of the street. This neighborhood has remained the same. It was the strange setting of our story, where a systematic questioning of all the diversions and works of a society, a total critique of its idea of happiness, was expressed in acts.　　These people also scorned subjective profundity. They were interested in nothing but an adequate and concrete expression of themselves.　　Voice 2 (Debord, monotone) Human beings are not fully conscious of their real life - usually groping in the dark; overwhelmed by the consequences of their acts; at every moment groups and individuals find themselves confronted with results they have not wished.　　Voice 1 They said that oblivion was their ruling passion. They wanted to reinvent everything each day; to become the masters and possessors of their own lives.　　Just as one does not judge a man according to the conception he has of himself, one cannot judge such periods of transition according to their own consciousness; on the contrary, one must explain the consciousness through the contradictions of material life, through the conflict between social conditions and the forces of social production.　　The progress achieved in the domination of nature was not yet matched by a corresponding liberation of everyday life. Youth passed away among the various controls of resignation.　　Our camera has captured for you a few aspects of a provisional microsociety.　　The knowledge of empirical facts remains abstract and superficial as long as it is not concretized by its integration into the whole ” which alone permits the supersession of partial and abstract problems so as to arrive at their concrete essence, and implicitly at their meaning.　　This group was on the margins of the economy. It tended toward a role of pure consumption, and first of all the free consumption of its time. It thus found itself directly engaged in qualitative variations of everyday life but deprived of any means to intervene in them.　　The group ranged over a very small area. The same times brought them back to the same places. No one went to bed early. Discussion on the meaning of all this continued...　　Voice 2 Our life is a journey ” In the winter and the night. ” We seek our passage...�　　Voice 1 The abandoned literature nevertheless exerted a delaying action on new affective formulations.　　Voice 2 There was the fatigue and the cold of the morning in this much-traversed labyrinth, like an enigma that we had to resolve. It was a looking-glass reality through which we had to discover the potential richness of reality.　　On the bank of the river evening began once again; and caresses; and the importance of a world without importance. Just as the eyes have a blurred vision of many things and can see only one clearly, so the will can strive only incompletely toward diverse objects and can completely love only one at a time.　　Voice 3 (young girl) No one counted on the future. It would never be possible to be together later, or anywhere else. There would never be a greater freedom.　　Voice 1 The refusal of time and of growing old automatically limited encounters in this narrow, contingent zone, where what was lacking was felt as irreparable. The extreme precariousness of the means of getting by without working was at the root of this impatience which made excesses necessary and breaks definitive.　　Voice 2 One never really contests an organization of existence without contesting all of that organization's forms of language.　　Voice 1 When freedom is practiced in a closed circle, it fades into a dream, becomes a mere representation of itself. The ambiance of play is by nature unstable. At any moment ordinary life� can prevail once again. The geographical limitation of play is even more striking than its temporal limitation. Any game takes place within the contours of its spatial domain. Around the neighborhood, around its fleeting and threatened immobility, stretched a half-known city where people met only by chance, losing their way forever.　　The girls who found their way there, because they were legally under the control of their families until the age of eighteen, were often recaptured by the defenders of that detestable institution. They were generally confined under the guard of those creatures who among all the bad products of a bad society are the most ugly and repugnant nuns.　　What usually makes documentaries so easy to understand is the arbitrary limitation of their subject matter. They describe the atomization of social functions and the isolation of their products. One can, in contrast, envisage the entire complexity of a moment which is not resolved into a work, a moment whose movement indissolubly contains facts and values and whose meaning does not yet appear. The subject matter of the documentary would then be this confused totality.　　Voice 2 The era had arrived at a level of knowledge and technical means that made possible, and increasingly necessary, a direct construction of all aspects of a liberated affective and practical existence. The appearance of these superior means of action, still unused because of the delays in the project of liquidating the commodity economy, had already condemned aesthetic activity, whose ambitions and powers were both outdated. The decay of art and of all the values of former mores had formed our sociological background. The ruling class's monopoly over the instruments we needed to control in order to realize the collective art of our time had excluded us from a cultural production officially devoted to illustrating and repeating the past. An art film on this generation can only be a film on its absence of real creations.　　Everyone unthinkingly followed the paths learned once and for all, to their work and their home, to their predictable future. For them duty had already become a habit, and habit a duty. They did not see the deficiency of their city. They thought the deficiency of their life was natural. We wanted to break out of this conditioning, in quest of another use of the urban landscape, in quest of new passions. The atmosphere of a few places gave us intimations of the future powers of an architecture it would be necessary to create to be the support and framework for less mediocre games. We could expect nothing of anything we had not ourselves altered. The urban environment proclaimed the orders and tastes of the ruling society just as violently as the newspapers. It is man who makes the unity of the world, but man has extended himself everywhere. People can see nothing around them that is not their own image; everything speaks to them of themselves. Their very landscape is alive. There were obstacles everywhere. There was a cohesion in the obstacles of all types. They maintained the coherent reign of poverty. Everything being connected, it was necessary to change everything by a unitary struggle, or nothing. It was necessary to link up with the masses, but we were surrounded by sleep.　　Voice 3 The dictatorship of the proletariat is a desperate struggle, bloody and bloodless, violent and peaceful, military and economic, educational and administrative, against the forces and traditions of the old world.　　Voice 1 In this country it is once again the men of order who have rebelled. They have reinforced their power. They have been able to aggravate the grotesqueness of the ruling conditions according to their will. They have embellished their system with the funereal ceremonies of the past.　　Voice 2 Years, like a single instant prolonged to this point, come to an end.　　Voice 1 What was directly lived reappears frozen in the distance, fit into the tastes and illusions of an era, carried away with it.　　Voice 2 The appearance of events that we have not made, that others have made against us, now obliges us to be aware of the passage of time, its results, the transformation of our own desires into events. What differentiates the past from the present is precisely its out-of-reach objectivity; there is no more should-be; being is so consumed that it has ceased to exist. The details are already lost in the dust of time. Who was afraid of life, afraid of the night, afraid of being taken, afraid of being kept　　Voice 3 What should be abolished continues, and we continue to wear away with it. We are engulfed. We are separated. The years pass and we haven't changed anything.　　Voice 2 Once again morning in the same streets. Once again the fatigue of so many similarly passed nights. It is a walk that has lasted a long time.　　Voice 1 Really hard to drink more.　　Voice 2 Of course one might make a film of it. But even if such a film succeeds in being as fundamentally disconnected and unsatisfying as the reality it deals with, it will never be more than a re-creation ” poor and false like this botched traveling shot.　　Voice 3 There are now people who pride themselves on being authors of films, as others were authors of novels. They are even more backward than the novelists because they are unaware of the decomposition and exhaustion of individual expression in our time, ignorant of the end of the arts of passivity. They are praised for their sincerity since they dramatize, with more personal depth, the conventions of which their life consists. There is talk of the liberation of the cinema. But what does it matter to us if one more art is liberated through which Tom, Dick or Harry can joyously express their slavish sentiments The only interesting venture is the liberation of everyday life, not only in the perspectives of history but for us and right away. This entails the withering away of alienated forms of communication. The cinema, too, has to be destroyed.　　Voice 2 In the final analysis, stars are created by the need we have for them, and not by their talent or lack of talent or even by the film industry or advertising. Miserable need, dismal, anonymous life that would like to expand itself to the dimensions of cinema life. The imaginary life on the screen is the product of this real need. The star is the projection of this need.　　The images of the advertisements during the intermissions are more suited than any others for evoking an intermission of life.　　To really describe this era it would no doubt be necessary to show many other things. But what would be the point　　Better to grasp the totality of what has been done and what remains to be done than to add more ruins to the old world of the spectacle and of memories.　　1. This film, which evokes the lettrist experiences at the origin of the situationist movement, opens with shots of the Paris district frequented by the lettrists in the early 1950s.

为你推荐

换一换

正片

新娘二选一

4.0 LulwaAlmulla/LailaAbdallah/AbdullahBoushahri/
正片

芒果缘

5.0 约瑟芬·帕克/达尔·萨利姆/约瑟芬·霍伊别尔/莎拉·希门尼斯/帕普丽卡·斯汀/安德斯·帕瑟森/塞巴斯汀·杰森/莉丝·巴斯特鲁普/宁顿·桑切斯/洛根·康纳·卡尔弗特/雅各布·约格斯霍尔姆/胡安马·克萨达/
HD中字

越狱特别篇：最后一越

9.0 多米尼克·珀塞尔/温特沃斯·米勒/阿莫里·诺拉斯科/罗伯特·克耐普/乔迪·琳·欧基菲/莎拉·韦恩·卡丽丝/威廉·菲克纳/里昂·拉瑟姆/金·寇兹/芭芭拉·伊芙·哈里斯/克里斯·布鲁诺/大卫·斯塔齐克/艾莎·辛德斯/罗莉·佩蒂/埃米·阿奎诺/杰夫·卡希尔/丹德里·泰勒/约瑟夫·威尔/达米安·利克/Ian/Patrick/Williams/Rainbow/Borden/Livia/Treviño/阿莉西亚·拉加诺/多特-玛丽·琼斯/里奇蒙德·阿奎特/苏芙·布莱德肖/Peggy/Dunne/乔伊·奥格莱斯比/丽纳/
HD

亲爱的家

8.0 大泉洋/菅野美穗/福本莉子/川荣李奈/新井美羽/松村北斗/有村架纯/光石研/上杉柊平/德永绘里/满岛真之介/户田菜穗/
抢先版

弗兰肯斯坦2025

3.0 奥斯卡·伊萨克/克里斯托弗·瓦尔兹/米娅·高斯/费利克斯·卡默雷尔/拉尔夫·伊内森/雅各布·艾洛蒂/查尔斯·丹斯/伯恩·戈曼/大卫·布拉德利/克里斯蒂安·康佛瑞/拉斯·米克尔森/尼古拉·雷·卡斯/劳伦·科林斯/斯图尔特·休斯/约阿希姆·弗耶尔斯图普/莎农·卡诺瓦斯/彼得·米拉德/柳博芙·埃尔基娜/罗伯托·坎帕内利亚/杰森·艾伦·斯坦斯/
HD中字

八恶人

3.0 塞缪尔·杰克逊/库尔特·拉塞尔/詹妮弗·杰森·李/沃尔顿·戈金斯/德米安·比齐尔/蒂姆·罗斯/迈克尔·马德森/布鲁斯·邓恩/詹姆士·帕克斯/查宁·塔图姆/丹娜·格瑞尔/佐伊·贝尔/李·霍斯利/
正片

蛟龙行动（特别版）

2.0 黄轩/于适/张涵予/段奕宏/王俊凯/杜江/李晨/王彦霖/蒋璐霞/韩东君/李九霄/高戈/孙毅/于震/袁文康/叶禾/翟宇佳/李璟羿/王子宸/郭洺宇/杜晓帆/杜燕歌/
正片

血染凤凰

1.0 王俊彭/汤思敬/周浩东/王九胜/李小朋/
正片

魔女传

5.0 未知
HD

便衣警察2025

10.0 汤姆·布莱斯/拉塞尔·托维/玛丽亚·迪齐亚/克里斯蒂安·库克/加布·法齐奥/艾米·福赛思/约翰·贝德福德·劳埃德/Darius/Fraser/Alessandra/Ford/Balazs/Sam/Asa/Brownstein/

正片

粉碎机

6.0 道恩·强森/艾米莉·布朗特/惠特尼·穆尔/巴斯·鲁藤/保罗·拉赞比/杰森·特朗布莱/安德烈·特里科图/祁答院雄贵/保罗·程/滨村洋子/奥列克桑德·乌西克/林赛·加文/瑞安·巴德尔/伊斯梅尔·埃尔法拉希/妮娜·杉井/詹姆斯·蒙塔斯里/佐伊·科索维奇/瑞安·文图拉/杰森·布罗德威尔/石井聪/
正片

南京照相馆

6.0 刘昊然/王传君/高叶/王骁/周游/杨恩又/原岛大地/王真儿/杨皓宇/刘亦淳/
正片

寻欢觅爱

3.0 布列塔尼·S·霍尔/香农·桑顿/托辛·莫罗洪福拉/
正片

此心安处(普通话版)

8.0 汤姆·汉克斯/罗宾·怀特/保罗·贝坦尼/凯利·蕾莉/米歇尔·道克瑞/格威利姆·李/大卫·芬恩/奥菲利亚·拉维邦德/尼古拉斯·平诺克/妮基·阿姆卡-伯德/安雅·马可·哈里斯/碧悠·加德斯顿/劳伦·麦奎因/本·威金斯/乔纳森·阿里斯/乔尔·欧莱特/莉莉·阿斯佩尔/莱斯利·泽米吉斯/丹尼·麦卡勒姆/米切尔·马伦/比莉·加德斯登/德克斯特·索尔·安塞尔/斯蒂芬妮·西亚达坦/
正片

追踪者

5.0 牟凤彬/孟真/王新军/孙大川/刘峰超/
正片

了不起的埃莉诺

3.0 朱恩·斯奎布/艾琳·凯利曼/切瓦特·埃加福/杰西卡·赫特/丽塔·佐哈尔/韦尔·普莱斯/劳伦·克雷恩/斯蒂芬·辛格/贝斯·古德里奇/伊莱恩·布罗姆卡/雷蒙德·安东尼·托马斯/崔斯坦·墨菲/科尔·拉格斯代尔/史蒂夫·C·布拉德布里/李台铭/芭芭拉·安德烈斯/萨米·斯泰格曼/米拉·法尔科芙/玛查·齐亚/布莱恩·比格尔克/
正片

银莲花2025

6.0 丹尼尔·戴-刘易斯/肖恩·宾/萨曼莎·莫顿/萨菲亚·奥克利-格林/塞缪尔·博顿利/亚当·弗格蒂/卡尔·卡姆/马蒂·伦斯登/
正片

QB坏男孩和我

9.0 NoahBeck/斯艾娜·阿古顿SienaAgudong/德鲁·雷·坦纳/
正片

时光留声

8.0 保罗·麦斯卡/乔什·奥康纳/彼得·马克·肯德尔/克里斯·库珀/莫莉·皮瑞斯/拉法埃尔·沙巴拉格/哈德莉·罗宾逊/艾玛·坎宁/布莉安娜·米德尔顿/亚历山德罗·贝德蒂/爱莉森·巴特利特/加里·雷蒙德/斯万米·萨姆派奥/迈克尔·D·泽维尔/威尔·菲茨/塞缪尔·H·拉维尼/凯文·迈克尔·布伦南/Dan/Bittner/Dawn/McGee/霍尔登·古德曼/
正片

夏日沙上

1.0 小田切让/松隆子/满岛光/高石明里/高桥文哉/森山直太朗/光石研/

正片

泰坦尼克号（普通话版）

3.0 莱昂纳多·迪卡普里奥/凯特·温斯莱特/比利·赞恩/凯西·贝茨/弗兰西丝·费舍/格劳瑞亚·斯图尔特/比尔·帕克斯顿/伯纳德·希尔/大卫·沃纳/维克多·加博//
正片

泰坦尼克号（原声版）

4.0 莱昂纳多·迪卡普里奥/凯特·温斯莱特/比利·赞恩/凯西·贝茨/弗兰西丝·费舍/格劳瑞亚·斯图尔特/比尔·帕克斯顿/伯纳德·希尔/大卫·沃纳/维克多·加博/乔纳森·海德//
正片

猎魔人：老鼠盗贼团

7.0 杜夫·龙格尔/本·拉德克利夫/安吉·K·亚当斯/FabianMcCallum/ConnorCrawford/克里斯特尔·埃尔文/朱丽叶·亚历珊德拉/AubreyShelton/
正片

小丽

6.0 未知
正片

东京的全部

9.0 正源司阳子/渡边莉奈/藤嶌果步/石冢瑶季/小西夏菜实/竹内希来里/平尾帆夏/平冈海月/清水理央/宫地菫/山下叶留花/小坂菜绪/八岛智人/真飞圣/
正片

排队的女人

5.0 阿尔维托·阿曼/娜塔莉亚·欧瑞洛/Mora/Recalde/
正片

溶液

6.0 乔恩·格里斯/亚历克山德拉·克文/JohannesGrenzfurthner/RolandGratzer/JasminHagendorfer/RonaldvondenSternen/PeterPlos/盖伦·霍华德/BibianeZimba/斯凯·埃洛巴/OttoZucker/TimLeague/JasonScottSadofsky/FranzAblinger/迈克尔·J·爱普斯坦/RaelMontecucco/MatteoPennacchia/JasonTostevin/StefanLutschinge/
正片

虎毒不

4.0 谈善言/卢镇业/彭杏英/冯素波/区嘉雯/太保/许博文/文颂娴/
抢先版

密探

9.0 瓦格纳·马拉/乌多·基尔/加布里埃尔·利昂纳/马丽娅·费尔南达·康基多/艾米拉·盖德斯/爱丽丝·卡瓦略/托马斯·阿基诺/伊萨贝尔·祖拉/苏茜·洛佩斯/若昂·维托尔·席尔瓦/罗尼·韦列拉/鲁本斯·桑托斯/卢西亚诺·基罗利/布达·里拉/吉米·阿斯特利/罗贝里奥·迪奥热内斯/伊戈尔·德·阿劳若/塔尼娅·玛丽亚/劳拉·卢费西/吉安妮·阿尔布开克/
更新HD

他们最好的

2.0 山姆·克拉弗林/杰玛·阿特登/Nicholas/Murchie/理查德·E·格兰特/亨利·古德曼/蕾切尔·斯特灵/杰克·休斯顿/比尔·奈伊/阿曼达·鲁特/帕特里克·吉布森/Darren/Clarke/艾德·伯奇/丽莎·伊万斯/Richard/Bevan/盖比·奇亚普/阿曼达·费尔班克-海恩斯/莉莉·奈特/弗朗西丝卡·奈特/阿尔菲·斯图尔特/杰伊·辛普森/保罗·里特/埃迪·马森/克劳迪亚·杰西/斯蒂芬妮·海姆/娜塔莉亚·鲁米娜/海伦·麦克洛瑞/丽贝卡·赛尔/杰瑞米·艾恩斯/杰克·莱西/米尔斯·理查森/戈登·/

换一换