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After a five-year hiatus from filmmaking, Piotr Szulkin returned in 1990 with "Femina", based on a novel by Krystyna Kofta and inspired by Luis Bunuel. The main character is Bogna, a thirty year old woman lost in her surrounding reality and unhappy in her private life. After her husband departs for a foreign scholarship, Bogna learns that her mother died. The trip to her hometown for the funeral becomes a voyage in time, during which she relives the memories of her idyllic childhood. As beautifully mounted as any of Szulkin's films, it's full of delirious wide-angle imagery (at times recalling the films of Terry Gilliam). Unavailable on DVD even in Poland, this is a most unfairly neglected work by Szulkin.

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女人的性欲和体型其实是有关系的,骨瘦型的女子性欲更强哦!想不到吧!娇小型 似少女般清新是此型的特色,...



北齐的玉体横陈千金一观,究竟有多么的不堪入目?

商女不知亡国恨,隔江犹唱后庭花这是诗人杜牧游秦淮时感伤金陵歌女吟唱淫靡之曲的叹息,昔日陈后主陈叔宝即使在朝堂上也时常将爱妃张丽华放在膝上商讨国事,“妖姬脸似花含露,玉树流光照后庭”,此曲也就成了亡国之音。陈叔宝是绝无心肝的,但同一时期的北齐更是有过之而无不及,北齐高氏甚至于被称为“禽兽王朝”,荒淫程度可谓无出其右,“玉体横陈”一词便出自于齐后主高纬。古人喜好以古讽今,高纬与爱妃冯小怜的荒唐事自然被诗人李商隐所借用,此间的荒淫实在是令人叹为观止。北齐二首(其一)·李商隐一笑相倾国便亡,何劳荆棘始堪伤。小怜玉体横陈夜,已报周师入晋阳。一顾倾人城,再顾倾人国,古人有着红颜祸水的说法,将破败的缘由有意的嫁接给佳人,或许这在他处颇为虚伪,但在冯小怜这儿却恰到好处,高纬与冯小怜二人可谓是臭味相投。北齐有三杰:段韶、斛律光和(兰陵王)高长恭,可以说有这三支柱撑着,北齐或许还能够再延续几年,但除了段韶因病亡故外,其他两位都遭后主高纬迫害。冯小怜原本是皇后穆邪利的侍女,在高纬专宠曹昭仪的背景下,被穆邪利进献给了高纬,然而皇后这一手驱虎吞狼无疑是惹火上身。天道好轮回,事实上穆邪利乃高纬第三位皇后,原本是第一位皇后斛律氏的侍婢,冯小怜的崛起其实也如自己此前一般。所不同的就是,冯小怜道行更高一筹,甚至于在北齐灭亡后依旧能够在北周代王处兴风作浪,“虽蒙今日宠,犹忆昔时怜”,堪称顶级碧螺春。玉体横陈一词便是用在冯小怜身上的,这一天山的尤物深受高纬喜爱,吹弹可破吐气如兰,冬暖夏凉的身子更是馋坏了后主高纬,以至于朝堂议事也要耳鬓厮磨,犹如陈叔宝与张丽华。北齐二首(其二)·李商隐巧笑知堪敌万几,倾城最在著戎衣。晋阳已陷休回顾,更请君王猎一围。有关冯小怜的不仅仅是“玉体横陈”还有着“城失围猎”、“造桥观战”的奇葩,高纬冯小怜二人曾在三堆打猎,晋州告急的人从早到晚来了几趟,但高纬无动于衷,最终平阳陷落,而冯小怜余兴未尽,因此索性不理继续围猎。等到高纬抵达晋州时,原本反攻已然使得城墙倒塌十余步,但高纬下令止战以等待妆化完后的冯小怜一同观看,而这导致了城墙重新修筑失去了攻城的机会。自然,若要将北齐灭亡的帽子扣在冯小怜身上就未免过分,后主高纬的荒淫才是主要,“家国兴亡自有时,吴人何苦怨西施”。鲁迅先生曾说:“向来男性的作者,大抵将败亡的大罪,推在女性的身上,这真是一钱不值的没出息的男人。”小怜玉体横陈夜,高纬荒淫到有了“独乐乐不如众乐乐”的地步,然而不过是一介色痞罢了。