Mary Berry's Secrets From Britain's Great Houses w/t (6 x 30′) – In this sumptuous new series Mary Berry explores some of the nation's most beloved stately homes through the prism of what she's best known for – food. 　　Her exclusive invitation to these great houses will take her away from the well-trodden tourist paths. Revealing life both upstairs and downstairs, Mary will meet the present day custodians and their knowledgeable, dedicated staff as she visits the gardens, kitchens and private rooms. 　　Inspired by the houses' rich culinary histories, Mary will be producing her own special recipes and celebrating the heritage and legacy of these extraordinary houses with all those she has met.

Mary Berry's Secrets From Britain's Great Houses w/t (6 x 30′) – In this sumptuous new series Mary Berry explores some of the nation's most beloved stately homes through the prism of what she's best known for – food. 　　Her exclusive invitation to these great houses will take her away from the well-trodden tourist paths. Revealing life both upstairs and downstairs, Mary will meet the present day custodians and their knowledgeable, dedicated staff as she visits the gardens, kitchens and private rooms. 　　Inspired by the houses' rich culinary histories, Mary will be producing her own special recipes and celebrating the heritage and legacy of these extraordinary houses with all those she has met.

JEUXhttp://i.mtime.com/100233　　长得漂亮、身材又好，还是学生会副会长的优等生奈奈与满脑子黄色内容的处男阿薰是从小一起长大的邻居兼同学。　　阿薰暗恋着逐渐成熟的奈奈，他最大的绮梦是让奈奈穿上拘束道具。仿佛是命运的捉弄，阿薰的白日梦竟然成真了——奈奈戴着皮颈环出现在他面前！原来奈奈出于好奇戴上了阿薰母亲寄放在她那里的颈环，却没法解扣，只能跑来求助于阿薰。阿薰恶作剧般地要求奈奈听命于他，才肯帮忙。　　就这样，色情书籍爱好者阿薰的“S”之心愈演愈烈，而意外堕入此道的奈奈则越来越“M”，两人找到了不可向外人道出的秘密“娱乐”……

特集上映「梅雨の城定祭り2021 inポレポレ東中野」の1本として上映されている本作。主人公は、子供の頃から人が食べているものや持っているものが何よりも素敵に見える“奈々ちゃん”だ。大人になってからも相変わらずの彼女は、真剣に誰かを大事にしている男性が魅力的に見えてしまう。

特集上映「梅雨の城定祭り2021 inポレポレ東中野」の1本として上映されている本作。主人公は、子供の頃から人が食べているものや持っているものが何よりも素敵に見える“奈々ちゃん”だ。大人になってからも相変わらずの彼女は、真剣に誰かを大事にしている男性が魅力的に見えてしまう。

墨西哥超现实吸血鬼片，导演Juan López Moctezuma是JODOROWSKY大师的好友，曾经参与杨大师多部经典CULT片的拍摄工作。 　　A beautifull artist (Cristina Ferrare) moonlights as a vampire while in Mexico, killing lovers of both sex. It seems that the only person who has any chance of stopping her reign of terror is her father (John Carradine), who's also a vampire. Model and future TV host Christina Ferrare is a lesbian vampire whose victims are dying to quench her thirst for blood. Mexican authorities and her father (John Carradine) try to come between Ferrare and her next target's neck in this horrifying shockfest. 　　Juan Lopez Moctezuma's MARY, MARY, BLOODY MARY (1975) is one of those movies you watch and, after mentally cataloging all the things wrong with it, realize how cool it really is... mostly because of all the things you thought were wrong with it. Cristina Ferrare is such a Pamprin headache of an actress, as stiff as a celluloid collar, and yet she does create one of cinema's most interesting vampires. In many ways, Mary couldn't be worse at what she does - while the early murder of a man interested in more than her paintings goes off smoothly (Miss Thing slyly sliding a hairpin out of her chignon during female superior sex and using it to lay open his jugular), her next victim (a fisherman, whom she has attempted to drug) nearly fends her off until she takes him down in one of the most ungainly vampire attacks of all time. 　　Elsewhere, Mary proves herself a complete chicken shit in moments of tension, as when she breaks down in big boo-boo tears when confronted on a country road by a mysterious figure clad in black. She's lachrymose, emotionally withdrawn, sexually disengaged and her art sucks... what a perfect portrait of an Ugly Americana spreading the white man's poison south of the border. It's in this context that the cheapness of the production, the harsh 70s decor, the cold, perfunctory performances and the wall-to-wall Muzak score actually begin to seem like grounded artistic choices and have a lot to do with why I keep coming back to this one. 　　MARY, MARY, BLOODY MARY ends in a surprisingly cynical bloodbath of ultraviolence that leaves only the pathetic title character standing... or in reality on her knees sucking the life out of the one person whose love she had relied on to point her to some kind of normalcy. Not enough vampire movies use awkwardness and incompetence as character traits to define their bloodsuckers and that's too bad. George Romero had similar ideas for MARTIN (1976) a year later but portraying vampires as just folks is definitely the horror road not taken.

墨西哥超现实吸血鬼片，导演Juan López Moctezuma是JODOROWSKY大师的好友，曾经参与杨大师多部经典CULT片的拍摄工作。 　　A beautifull artist (Cristina Ferrare) moonlights as a vampire while in Mexico, killing lovers of both sex. It seems that the only person who has any chance of stopping her reign of terror is her father (John Carradine), who's also a vampire. Model and future TV host Christina Ferrare is a lesbian vampire whose victims are dying to quench her thirst for blood. Mexican authorities and her father (John Carradine) try to come between Ferrare and her next target's neck in this horrifying shockfest. 　　Juan Lopez Moctezuma's MARY, MARY, BLOODY MARY (1975) is one of those movies you watch and, after mentally cataloging all the things wrong with it, realize how cool it really is... mostly because of all the things you thought were wrong with it. Cristina Ferrare is such a Pamprin headache of an actress, as stiff as a celluloid collar, and yet she does create one of cinema's most interesting vampires. In many ways, Mary couldn't be worse at what she does - while the early murder of a man interested in more than her paintings goes off smoothly (Miss Thing slyly sliding a hairpin out of her chignon during female superior sex and using it to lay open his jugular), her next victim (a fisherman, whom she has attempted to drug) nearly fends her off until she takes him down in one of the most ungainly vampire attacks of all time. 　　Elsewhere, Mary proves herself a complete chicken shit in moments of tension, as when she breaks down in big boo-boo tears when confronted on a country road by a mysterious figure clad in black. She's lachrymose, emotionally withdrawn, sexually disengaged and her art sucks... what a perfect portrait of an Ugly Americana spreading the white man's poison south of the border. It's in this context that the cheapness of the production, the harsh 70s decor, the cold, perfunctory performances and the wall-to-wall Muzak score actually begin to seem like grounded artistic choices and have a lot to do with why I keep coming back to this one. 　　MARY, MARY, BLOODY MARY ends in a surprisingly cynical bloodbath of ultraviolence that leaves only the pathetic title character standing... or in reality on her knees sucking the life out of the one person whose love she had relied on to point her to some kind of normalcy. Not enough vampire movies use awkwardness and incompetence as character traits to define their bloodsuckers and that's too bad. George Romero had similar ideas for MARTIN (1976) a year later but portraying vampires as just folks is definitely the horror road not taken.

内德爱他美丽的妻子玛丽，但由于他的性功能障碍无法满足她，无论他怎么努力，都无济于事。有一天他发誓将自己的灵魂卖给魔鬼，以换取他缺乏的男子气概，并提出接受他的提议，魔鬼答应了。内德很快发现自己能够享受他梦寐以求的体验，但不知道魔鬼对内德和他所有的新玩伴有一些可怕的计划......