The Seventh Bullet □s a Soviet Ostern film of 1972 d□rec□ed□by Al□ Kh□mraev□ In t□□ s□me tradit□on□as The□W□ite Sun o□ the Desert and T□e Bodyg□□r□, The Se□□nth□B□l□□t i□ set aft□r□the R□ssian Civil War w□ich e□□ed□□n the 1920s whe□ Soviet □ower establ□she□ itself i□ Cen□□al Asia in the□wake of □□e Basmachi reb□□lion.□Despite this □ligh□ □□ift i□ e□p□as□s □nd a p□st-w□r set□ing, The Sev□n□h Bullet is□c□o□er□to □ ty□ical war film than o□h□r Red Weste□n□ because□of a prominence of ta□tical resourcefu□ne□s in the de□□lopment of □he plot. Al□h□ugh of cour□e thi□ □s a s□aple□of many America□ Wester□s from Joh□ Ford□9;s□c□valry □□ri□s t□ the□□□ny Apach□ wa□ fil□s. Despite the restor□ti□n of Soviet□□□□er in □he area, Basmachis □o□tinue to□□rrive fro□ ac□oss the□bor□er, bringing □e□th and□destruc□i□n to pe□c□□ul v□l□age□. O□e of□t□e ban□s of □ebels □s led by Khair□lla who is pitt□d ag□i□st □he milits□ya (loca□ mili□i□) leader Maxum□□□ □t first□it seems hopeless for □ax□m□v□as□the rebe□s c□pture mos□ of his men, winn□n□ them over □o □is□□□de. H□ □□s only on□ s□rate□y□left; t□ g□□e hi□se□f□u□,□and try to □x□lain to th□ □eo□le that Khairull□ □as d□ceived □hem, turning the soldiers □ack to□revoluti□n. Late□ in pursuit of his enemy, he chase□□Khai□ul□a acr□ss □ river. □e has□only one bulle□ □eft—the □eventh, □nd□he □us□□not□□□□s his target!- 许平峰是□品巅□练气士。□老板(📎)发现司马龙飞一个人□在大厅□便知道他馋了,□□盆牛骨汤,一碗红□牛肉,□棵大(🚕)葱,几个煎蛋,还□几张伙计□早上做的烙饼。端过来放在桌□□□这么一瞬间,骤(🥛)然□现了。□1:《这□世界真(😉)的没诡异》,作者:山外楼听雨
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暖小二:138.25.319.486
看到她的笑容,李天命就知道自己今天肯定死不了,但肯定会被青儿讥讽一顿……
钻石王老三:188.109.359.942
“有事说事,没事滚蛋!”网王倾国倾城的小说Hollywood-style time travel tales like to focus their attention on cultural fads and fashions: clothes, music, slang, daily technologies. The ingeniously low-budget Irish sci-fi film LOLA has fun with all of that, but also investigates darker, more global questions like: what if Germany had won World War II? Pieced together in dazzling 16mm as an imaginary collage of interlocking audio-visual documents from the 1940s, Andrew Legge, directing his debut feature, conjures the lives of two gifted and lively sisters, Thomasina and Martha. Left to their own devices as children, the pair has managed to create a machine that receives media broadcasts from the future. In their personal, cloistered, punk paradise, they embrace the rebellious styles of an age to come – The Kinks, David Bowie – but also discover, when military personnel move in, that history is a dangerous game to toy with. The ultimate question becomes: if mass media can change the world, can cinema miraculously restore it? Just like the monument to bricolage created by its characters, LOLA is an inspired conceit in the style of Guy Maddin, Woody Allen’s Zelig (1983) and Peter Jackson’s Forgotten Silver (1996). It’s a surreal romp through scratches, glitches and speculative possibilities.