• 观看记录

    • 关注公众号观影不迷路

    视频
    视频 文章 明星
    取消
    推荐搜索
    全部
    电影 出生证明

    出生证明

    影片信息
    • 片名：出生证明
    • 状态：HD
    • 主演：Andrzej Banaszewski/Beata Barszczewska/马里乌什·德莫霍夫斯基/
    • 导演：斯坦尼斯拉夫·罗泽维格/
    • 年份：1961
    • 地区：其它
    • 类型：战争/
    • 时长：内详
    • 上映：未知
    • 语言：其它
    • 更新：2025-07-03 14:44
    • 简介：　　In 1961, Stanislaw Rozewicz created the novella film "Birth Certificate" in cooperation with his brother, Taduesz Rozewicz as screenwriter. Such brother tandems are rare in the history of film but aside from family ties, Stanislaw (born in 1924) and Taduesz (born in 1921) were mutually bound by their love for the cinema. They were born and grew up in Radomsk, a small town which had "its madmen and its saints" and most importanly, the "Kinema" cinema, as Stanislaw recalls: for him cinema is "heaven, the whole world, enchantment". Tadeusz says he considers cinema both a charming market stall and a mysterious temple. "All this savage land has always attracted and fascinated me," he says. "I am devoured by cinema and I devour cinema; I'm a cinema eater." But Taduesz Rozewicz, an eminent writer, admits this unique form of cooperation was a problem to him: "It is the presence of the other person not only in the process of writing, but at its very core, which is inserperable for me from absolute solitude." Some scenes the brothers wrote together; others were created by the writer himself, following discussions with the director. But from the perspective of time, it is "Birth Certificate", rather than "Echo" or "The Wicked Gate", that Taduesz describes as his most intimate film. This is understandable. The tradgey from September 1939 in Poland was for the Rozewicz brothers their personal "birth certificate". When working on the film, the director said "This time it is all about shaking off, getting rid of the psychological burden which the war was for all of us. ... Cooperation with my brother was in this case easier, as we share many war memories. We wanted to show to adult viewers a picture of war as seen by a child. ... In reality, it is the adults who created the real world of massacres. Children beheld the horrors coming back to life, exhumed from underneath the ground, overwhelming the earth."　　The principle of composition of "Birth Certificate" is not obvious. When watching a novella film, we tend to think in terms of traditional theatre. We expect that a miniature story will finish with a sharp point; the three film novellas in Rozewicz's work lack this feature. We do not know what will be happen to the boy making his alone through the forest towards the end of "On the Road". We do not know whether in "Letter from the Camp", the help offered by the small heroes to a Soviet prisoner will rescue him from the unknown fate of his compatriots. The fate of the Jewish girl from "Drop of Blood" is also unclear. Will she keep her new impersonation as "Marysia Malinowska"? Or will the Nazis make her into a representative of the "Nordic race"? Those questions were asked by the director for a reason. He preceived war as chaos and perdition, and not as linear history that could be reflected in a plot. Although "Birth Certificate" is saturated with moral content, it does not aim to be a morality play. But with the immense pressure of reality, no varient of fate should be excluded. This approached can be compared wth Krzysztof Kieslowski's "Blind Chance" 25 years later, which pictured dramatic choices of a different era.　　()The film novella "On the Road" has a very sparing plot, but it drew special attention of the reviewers. The ominating overtone of the war films created by the Polish Film School at that time should be kept in mind. Mainly owing to Wajda, those films dealt with romantic heritage. They were permeated with pathos, bitterness, and irony. Rozewicz is an extraordinary artist. When narrating a story about a boy lost in a war zone, carrying some documents from the regiment office as if they were a treasure, the narrator in "On the Road" discovers rough prose where one should find poetry. And suddenly, the irrational touches this rather tame world. The boy, who until that moment resembled a Polish version of the Good Soldier Schweik, sets off, like Don Quixote, for his first and last battle. A critic described it as "an absurd gesture and someone else could surely use it to criticise the Polish style of dying. ... But the Rozewicz brothers do no accuse: they only compose an elegy for the picturesque peasant-soldier, probably the most important veteran of the Polish war of 1939-1945." "Birth Certificate" is not a lofty statement about national imponderabilia. The film reveals a plebeian perspective which Aleksander Jackieqicz once contrasted with those "lyrical lamentations" inherent in the Kordian tradition. However, a historical overview of Rozewicz's work shows that the distinctive style does not signify a fundamental difference in illustrating the Polish September. Just as the memorable scene from Wajda's "Lotna" was in fact an expression of desperation and distress, the same emotions permeate the final scene of "Birth Certificate". These are not ideological concepts, though once described as such and fervently debated, but rather psychological creations. In this specific case, observes Witold Zalewski, it is not about manifesting knightly pride, but about a gesture of a simple man who does not agree to be enslaved.　　The novella "Drop of Blood" is, with Aleksander Ford's "Border Street", one of the first narrations of the fate of the Polish Jews during the Nazi occupation. The story about a girl literally looking for her place on earth has a dramatic dimension. Especially in the age of today's journalistic disputes, often manipulative, lacking in empathy and imbued with bad will, Rozewicz's story from the past shocks with its authenticity. The small herione of the story is the only one who survives a German raid on her family home. Physical survial does not, however, mean a return to normality. Her frightened departure from the rubbish dump that was her hideout lead her to a ruined apartment. Her walk around it is painful because still fresh signs of life are mixed with evidence of annihilation. Help is needed, but Mirka does not know anyone in the outside world. Her subsequent attempts express the state of the fugitive's spirits - from hope and faith, moving to doubt, a sense of oppression, and thickening fear, and finally to despair.　　At the same time, the Jewish girl's search for refuge resembles the state of Polish society. The appearance of Mirka results in confusion, and later, trouble. This was already signalled by Rozewicz in an exceptional scene from "Letter from the Camp" in which the boy's neighbour, seeing a fugitive Russian soldier, retreats immediately, admitting that "Now, people worry only about themselves." Such embarassing excuses mask fear. During the occupation, no one feels safe. Neither social status not the aegis of a charity organisation protects against repression. We see the potential guardians of Mirka passing her back and forth among themselves. These are friendly hands but they cannot offer strong support. The story takes place on that thin line between solidarity and heroism. Solidarity arises spontaneously, but only some are capable of heroism. Help for the girl does not always result from compassion; sometimes it is based on past relations and personal ties (a neighbour of the doctor takes in the fugitive for a few days because of past friendship). Rozewicz portrays all of this in a subtle way; even the smallest gesture has significance. Take, for example, the conversation with a stranger on the train: short, as if jotted down on the margin, but so full of tension. And earlier, a peculiar examination of Polishness: the "Holy Father" prayer forced on Mirka by the village boys to check that she is not a Jew. Would not rising to the challenge mean a death sentance?　　Viewed after many years, "Birth Certificate" discloses yet another quality that is not present in the works of the Polish School, but is prominent in later B-class war films. This is the picture of everyday life during the war and occupation outlined in the three novellas. It harmonises with the logic of speaking about "life after life". Small heroes of Rozewicz suddenly enter the reality of war, with no experience or scale with which to compare it. For them, the present is a natural extension of and at the same time a complete negation of the past. Consider the sleey small-town marketplace, through which armoured columns will shortly pass. Or meet the German motorcyclists, who look like aliens from outer space - a picture taken from an autopsy because this is how Stanislaw and Taduesz perceived the first Germans they ever met. Note the blurred silhouettes of people against a white wall who are being shot - at first they are shocking, but soon they will probably become a part of the grim landscape. In the city centre stands a prisoner camp on a sodden bog ("People perish likes flies; the bodies are transported during the night"); in the street the childern are running after a coal wagon to collect some precious pieces of fuel. There's a bustle around some food (a boy reproaches his younger brother's actions by singing: "The warrant officer's son is begging in front of the church? I'm going to tell mother!"); and the kitchen, which one evening becomes the proscenium of a real drama. And there are the symbols: a bar of chocolate forced upon a boy by a Wehrmacht soldier ("On the Road"); a pair of shoes belonging to Zbyszek's father which the boy spontaneously gives to a Russian fugitive; a priceless slice of bread, ground  under the heel of a policeman in the guter ("Letters from the Camp"). As the director put it: "In every film, I communicate my own vision of the world and of the people. Only then the style follows, the defined way of experiencing things." In Birth Certificate, he adds, his approach was driven by the subject: "I attempted to create not only the texture of the document but also to add some poetic element. I know it is risky but as for the merger of documentation and poety, often hidden very deep, if only it manages to make its way onto the screen, it results in what can referred to as 'art'."　　After 1945, there were numerous films created in Europe that dealt with war and children, including "Somewhere in Europe" ("Valahol Europaban", 1947 by Geza Radvanyi), "Shoeshine" ("Sciescia", 1946 by Vittorio de Sica), and "Childhood of Ivan" ("Iwanowo dietstwo" by Andriej Tarkowski). Yet there were fewer than one would expect. Pursuing a subject so imbued with sentimentalism requires stylistic disipline and a special ability to manage child actors. The author of "Birth Certificate" mastered both - and it was not by chance. Stanislaw Rozewicz was always the beneficent spirit of the film milieu; he could unite people around a common goal. He emanated peace and sensitivity, which flowed to his co-workers and pupils. A film, being a group work, necessitates some form of empathy - tuning in with others.　　In a biographical documentary about Stanislaw Rozewicz entitled "Walking, Meeting" (1999 by Antoni Krauze), there is a beautiful scene when the director, after a few decades, meets Beata Barszczewska, who plays Mireczka in the novella "Drops of Blood". The woman falls into the arms of the elderly man. They are both moved. He wonders how many years have passed. She answers: "A few years. Not too many." And Rozewicz, with his characteristic smile says: "It is true. We spent this entire time together."
    1961/其它/战争 /其它/

    • 关注公众号观影不迷路

    • 扫一扫用手机访问

     立即播放  lz在线

    选择来源

    • lz在线
    • lz云
    10.0
    网友评分
    • 很差
    • 较差
    • 还行
    • 推荐
    • 力荐
    354次评分
    10.0
    网友评分
    • 很差
    • 较差
    • 还行
    • 推荐
    • 力荐
    354次评分
    给影片打分 《出生证明》
    • 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 战争片 出生证明

    播放列表

     当前资源来源lz在线 - 在线播放,无需安装播放器
     倒序
     lz在线  lz云

    剧情简介

    　　In 1961, Stanislaw Rozewicz created the novella film "Birth Certificate" in cooperation with his brother, Taduesz Rozewicz as screenwriter. Such brother tandems are rare in the history of film but aside from family ties, Stanislaw (born in 1924) and Taduesz (born in 1921) were mutually bound by their love for the cinema. They were born and grew up in Radomsk, a small town which had "its madmen and its saints" and most importanly, the "Kinema" cinema, as Stanislaw recalls: for him cinema is "heaven, the whole world, enchantment". Tadeusz says he considers cinema both a charming market stall and a mysterious temple. "All this savage land has always attracted and fascinated me," he says. "I am devoured by cinema and I devour cinema; I'm a cinema eater." But Taduesz Rozewicz, an eminent writer, admits this unique form of cooperation was a problem to him: "It is the presence of the other person not only in the process of writing, but at its very core, which is inserperable for me from absolute solitude." Some scenes the brothers wrote together; others were created by the writer himself, following discussions with the director. But from the perspective of time, it is "Birth Certificate", rather than "Echo" or "The Wicked Gate", that Taduesz describes as his most intimate film. This is understandable. The tradgey from September 1939 in Poland was for the Rozewicz brothers their personal "birth certificate". When working on the film, the director said "This time it is all about shaking off, getting rid of the psychological burden which the war was for all of us. ... Cooperation with my brother was in this case easier, as we share many war memories. We wanted to show to adult viewers a picture of war as seen by a child. ... In reality, it is the adults who created the real world of massacres. Children beheld the horrors coming back to life, exhumed from underneath the ground, overwhelming the earth."　　The principle of composition of "Birth Certificate" is not obvious. When watching a novella film, we tend to think in terms of traditional theatre. We expect that a miniature story will finish with a sharp point; the three film novellas in Rozewicz's work lack this feature. We do not know what will be happen to the boy making his alone through the forest towards the end of "On the Road". We do not know whether in "Letter from the Camp", the help offered by the small heroes to a Soviet prisoner will rescue him from the unknown fate of his compatriots. The fate of the Jewish girl from "Drop of Blood" is also unclear. Will she keep her new impersonation as "Marysia Malinowska"? Or will the Nazis make her into a representative of the "Nordic race"? Those questions were asked by the director for a reason. He preceived war as chaos and perdition, and not as linear history that could be reflected in a plot. Although "Birth Certificate" is saturated with moral content, it does not aim to be a morality play. But with the immense pressure of reality, no varient of fate should be excluded. This approached can be compared wth Krzysztof Kieslowski's "Blind Chance" 25 years later, which pictured dramatic choices of a different era.　　()The film novella "On the Road" has a very sparing plot, but it drew special attention of the reviewers. The ominating overtone of the war films created by the Polish Film School at that time should be kept in mind. Mainly owing to Wajda, those films dealt with romantic heritage. They were permeated with pathos, bitterness, and irony. Rozewicz is an extraordinary artist. When narrating a story about a boy lost in a war zone, carrying some documents from the regiment office as if they were a treasure, the narrator in "On the Road" discovers rough prose where one should find poetry. And suddenly, the irrational touches this rather tame world. The boy, who until that moment resembled a Polish version of the Good Soldier Schweik, sets off, like Don Quixote, for his first and last battle. A critic described it as "an absurd gesture and someone else could surely use it to criticise the Polish style of dying. ... But the Rozewicz brothers do no accuse: they only compose an elegy for the picturesque peasant-soldier, probably the most important veteran of the Polish war of 1939-1945." "Birth Certificate" is not a lofty statement about national imponderabilia. The film reveals a plebeian perspective which Aleksander Jackieqicz once contrasted with those "lyrical lamentations" inherent in the Kordian tradition. However, a historical overview of Rozewicz's work shows that the distinctive style does not signify a fundamental difference in illustrating the Polish September. Just as the memorable scene from Wajda's "Lotna" was in fact an expression of desperation and distress, the same emotions permeate the final scene of "Birth Certificate". These are not ideological concepts, though once described as such and fervently debated, but rather psychological creations. In this specific case, observes Witold Zalewski, it is not about manifesting knightly pride, but about a gesture of a simple man who does not agree to be enslaved.　　The novella "Drop of Blood" is, with Aleksander Ford's "Border Street", one of the first narrations of the fate of the Polish Jews during the Nazi occupation. The story about a girl literally looking for her place on earth has a dramatic dimension. Especially in the age of today's journalistic disputes, often manipulative, lacking in empathy and imbued with bad will, Rozewicz's story from the past shocks with its authenticity. The small herione of the story is the only one who survives a German raid on her family home. Physical survial does not, however, mean a return to normality. Her frightened departure from the rubbish dump that was her hideout lead her to a ruined apartment. Her walk around it is painful because still fresh signs of life are mixed with evidence of annihilation. Help is needed, but Mirka does not know anyone in the outside world. Her subsequent attempts express the state of the fugitive's spirits - from hope and faith, moving to doubt, a sense of oppression, and thickening fear, and finally to despair.　　At the same time, the Jewish girl's search for refuge resembles the state of Polish society. The appearance of Mirka results in confusion, and later, trouble. This was already signalled by Rozewicz in an exceptional scene from "Letter from the Camp" in which the boy's neighbour, seeing a fugitive Russian soldier, retreats immediately, admitting that "Now, people worry only about themselves." Such embarassing excuses mask fear. During the occupation, no one feels safe. Neither social status not the aegis of a charity organisation protects against repression. We see the potential guardians of Mirka passing her back and forth among themselves. These are friendly hands but they cannot offer strong support. The story takes place on that thin line between solidarity and heroism. Solidarity arises spontaneously, but only some are capable of heroism. Help for the girl does not always result from compassion; sometimes it is based on past relations and personal ties (a neighbour of the doctor takes in the fugitive for a few days because of past friendship). Rozewicz portrays all of this in a subtle way; even the smallest gesture has significance. Take, for example, the conversation with a stranger on the train: short, as if jotted down on the margin, but so full of tension. And earlier, a peculiar examination of Polishness: the "Holy Father" prayer forced on Mirka by the village boys to check that she is not a Jew. Would not rising to the challenge mean a death sentance?　　Viewed after many years, "Birth Certificate" discloses yet another quality that is not present in the works of the Polish School, but is prominent in later B-class war films. This is the picture of everyday life during the war and occupation outlined in the three novellas. It harmonises with the logic of speaking about "life after life". Small heroes of Rozewicz suddenly enter the reality of war, with no experience or scale with which to compare it. For them, the present is a natural extension of and at the same time a complete negation of the past. Consider the sleey small-town marketplace, through which armoured columns will shortly pass. Or meet the German motorcyclists, who look like aliens from outer space - a picture taken from an autopsy because this is how Stanislaw and Taduesz perceived the first Germans they ever met. Note the blurred silhouettes of people against a white wall who are being shot - at first they are shocking, but soon they will probably become a part of the grim landscape. In the city centre stands a prisoner camp on a sodden bog ("People perish likes flies; the bodies are transported during the night"); in the street the childern are running after a coal wagon to collect some precious pieces of fuel. There's a bustle around some food (a boy reproaches his younger brother's actions by singing: "The warrant officer's son is begging in front of the church? I'm going to tell mother!"); and the kitchen, which one evening becomes the proscenium of a real drama. And there are the symbols: a bar of chocolate forced upon a boy by a Wehrmacht soldier ("On the Road"); a pair of shoes belonging to Zbyszek's father which the boy spontaneously gives to a Russian fugitive; a priceless slice of bread, ground  under the heel of a policeman in the guter ("Letters from the Camp"). As the director put it: "In every film, I communicate my own vision of the world and of the people. Only then the style follows, the defined way of experiencing things." In Birth Certificate, he adds, his approach was driven by the subject: "I attempted to create not only the texture of the document but also to add some poetic element. I know it is risky but as for the merger of documentation and poety, often hidden very deep, if only it manages to make its way onto the screen, it results in what can referred to as 'art'."　　After 1945, there were numerous films created in Europe that dealt with war and children, including "Somewhere in Europe" ("Valahol Europaban", 1947 by Geza Radvanyi), "Shoeshine" ("Sciescia", 1946 by Vittorio de Sica), and "Childhood of Ivan" ("Iwanowo dietstwo" by Andriej Tarkowski). Yet there were fewer than one would expect. Pursuing a subject so imbued with sentimentalism requires stylistic disipline and a special ability to manage child actors. The author of "Birth Certificate" mastered both - and it was not by chance. Stanislaw Rozewicz was always the beneficent spirit of the film milieu; he could unite people around a common goal. He emanated peace and sensitivity, which flowed to his co-workers and pupils. A film, being a group work, necessitates some form of empathy - tuning in with others.　　In a biographical documentary about Stanislaw Rozewicz entitled "Walking, Meeting" (1999 by Antoni Krauze), there is a beautiful scene when the director, after a few decades, meets Beata Barszczewska, who plays Mireczka in the novella "Drops of Blood". The woman falls into the arms of the elderly man. They are both moved. He wonders how many years have passed. She answers: "A few years. Not too many." And Rozewicz, with his characteristic smile says: "It is true. We spent this entire time together."

    为你推荐

     换一换
    • HD
      拯救大兵瑞恩
      2.0 汤姆·汉克斯///汤姆·塞兹摩尔///爱德华·伯恩斯///巴里·佩珀///亚当·戈德堡//
    • HD
      冰雪狙击
      2.0 李东学/胡雪儿/周波/山崎敬一/杨明娜/于波/张皓承/王泽宗/韩东起/佟意/潘洪岑/宋一/岳冬峰/
    • HD
      伦敦的山本五十六
      1.0 香取慎吾/高良健吾/片冈爱之助/国村隼/渡边一计/岛田久作/中村育二/市原隼人/平岩纸/景井ひな/伊武雅刀/山本学/
    • HD
      我眼中的阴影
      7.0 艾历克斯·休·安德森/帕特里夏·舒曼/詹姆斯·特拉佩/达妮卡·/库尔西奇/马德斯·瑞艾森/范妮·博内代尔/Malene Beltoft Olsen/延斯·塞特·拉森/克里斯蒂安·伊伯勒/Alban Lendorf/Joen Højerslev/
    • HD
      深入战区
      10.0 Veronique Vandeven/Noufissa Benchehida/Aziz Dhiouer/
    • HD
      天空
      10.0 Vasiliy Bashmakov/伊凡·巴塔列夫/Dmitriy Blokhin/亚历山大·布哈罗夫/Nazar Denisov/阿拉·伊明兹瓦/Anastasiya Fomina/安德烈·弗洛洛夫/瑟吉·古班诺夫/阿纳托利·科特/尼古拉·科扎克/玛丽亚·米罗诺娃/Arslan Murzabekov/格里戈利·涅克拉索夫/伊利亚·诺斯科夫/
    • HD
      奥斯维辛报告
      7.0 诺埃尔·楚佐/彼得·恩德雷吉卡/沃伊切赫·麦克瓦尔达斯基/卡米勒·诺辛斯基/克萨韦里·斯伦基尔/米哈尔·雷兹/亚历山德·明瑟/亚采克·贝勒/弗里兰·坦科斯/克里斯托夫·巴赫/大卫·齐梅尔席德/拉尔斯·鲁道夫/约翰·汉纳/玛尔塔·马托娃/奥德·马利/
    • 已完结
      勇敢的心
      5.0 梅尔·吉布森/苏菲·玛索/布莱恩·考克斯/詹姆斯·科兹莫/辛·劳洛/凯瑟琳·麦克马克/安古斯·麦克菲登/
    • HD
      突破
      10.0 杰尼·加斯佩林/多门·瓦利克/安娜·斯皮克/洛夫罗·扎弗雷德/安德烈·莱纳/丹尼斯·比拉什/罗克·维哈尔/Rok/Vihar/米哈·罗德曼/瓦伦蒂娜·普拉斯坎/
    • HD
      血战钢锯岭
      7.0 安德鲁·加菲尔德/萨姆·沃辛顿/文斯·沃恩/雨果·维文/卢克·布雷西/泰莉莎·帕尔墨/瑞切尔·格里菲斯/内森奈尔·布佐里克/理查德·劳斯伯格/马特·纳夫莱/费拉斯·迪拉尼/瑞安·柯尔/卢克·佩格勒/
    • HD
      黑人月羽希被中出74分钟
      1.0 杰姬·霍夫曼/玛丽莎·达维拉/
    • HD
      办公室偷情欧美
      5.0 金九拉/徐章勋/秋瓷炫/于晓光/
    • HD
      女儿装睡着成全爸爸
      8.0 马修·瑞斯/朱丽叶·赖伦斯/克里斯·乔克/西恩·奥斯汀/Michael Wayne Brown/马特·布什/乔恩·查芬/Blaire Chandler/Sean Convery/罗伯特·库蒂斯·布朗/霍普·戴维斯/汤米·杜威/Mandy Dickson/Joseph W. Evans/维罗尼卡·法尔孔/Leslie Koch Foumberg/法布里齐奥·扎卡里·奇诺/韩吉洋/埃里克·兰格/华莱士·朗翰/安东尼·莫利纳利/马克·奥布莱恩/保罗·拉西/奥纳霍阿·罗德里格斯/詹·塔洛克/凯瑟琳·沃特斯顿/谢伊/
    • HD
      scat粪便
      9.0 本·阿弗莱克/艾莉丝·布拉加/J.D.普拉多/戴奥·奥柯奈伊/杰夫·法赫/杰基·厄尔·哈利/威廉·菲克纳/赞恩·霍尔茨/鲁本·哈维尔·卡巴雷诺/凯莉·弗莱/桑迪·阿维拉/瑞恩·留萨基/哈拉·芬利/爱奥妮·奥利维亚·尼维斯/科瑞娜·卡尔德隆/劳伦斯·瓦尔纳多/德里克·罗素/达娜·温·刘/罗纳德·乔·瓦斯奎兹/海尔斯·杨/
    • 已完结
      免费动漫美女捅鸡视频
      3.0 克里斯托弗·米洛尼/Danielle Moné Truitt/Ainsley Seiger/布兰特·安东尼洛/卡米拉·贝勒/Iván Amaro Bullón/布莱恩·多纳休/杰弗里·多诺万/瑞克·冈萨雷斯/格斯·哈尔珀/Alayna Hester/Marinko Radakovic/
    • HD
      用户痧女微博
      3.0 Wayne David/西恩·奥特曼/Grant Masters/
    • HD
      知乎破解版看小说网站
      10.0 詹姆斯·斯派德/安津罗森/克里斯·麦基纳/亚历克斯·清水/Jacopo Rampini/Anthony Cipriani/Sid Jarvis/Anya Banerjee/
    • HD
      惩罚灰原哀的作文
      10.0 李孝利/金元萱/严正化/宝儿/安慧真/
    • HD
      被粗壮的阳茎干得大叫
      8.0 申东烨/徐章勋/韩惠珍/金建模/
    • HD
      女子小便被监控拍到
      8.0 钱小豪/杜奕衡/许颢/白钰/岳冬峰/
    • HD
      小野六花最撩人的一集
      10.0 昆塔·布伦森/雪莉·李·拉尔夫/贾内尔·詹姆斯//克里斯·佩尔费蒂/丽萨·安·沃尔特/泰勒·詹姆斯·威廉姆/
    • HD
      惩罚扒开抽打花蒂h
      7.0 鲍勃·克莱德宁/娜塔莎·埃斯卡/罗兰·巴克三世/凯特琳·麦克米伦/Kimberli Flores/Carlo Mendez/朱莉·博斯特/
    • HD
      女人赤身露体棵免费看
      6.0 李晨浩/张子璇/崔永炫/侯晓/高雄/马佳玮/王蕾/王力/
    • HD
      松下纱荣子维修工调教
      9.0 韩栋/刘萌萌/翟艺舒/洋懿/王李丹妮/王九胜/
    • HD
      鞭打小妾阴蒂和肛门
      8.0 Fanny Louise Bernth/Josephine Park/Peter Zandersen/
    • HD
      明星y荡婚礼
      4.0 韩栋/刘萌萌/翟艺舒/洋懿/王李丹妮/王九胜/
    • HD
      凌虐囚禁吊起抽穴h
      8.0 凯丽·拉塞尔/卢夫斯·塞维尔/大卫·吉亚西/罗里·金尼尔/奥托·艾森度/阿丽·安/Jon Moore/Adam Silver/巴夫·乔希/埃里克·蒂德/安娜·弗兰科利尼/Joey Eden/西莉亚·伊姆里/佩妮·唐尼/黛博拉·卡恩/希滕·珀泰尔/安德鲁·G·奥格尔比/米盖尔·桑多瓦尔/奥利弗·莫尔特曼/礼萨·迪亚科/毕扬·丹斯曼/James Beaumont/马克·贾尼塞洛/戴纳·哈克乔/Melissa Advani/珀尔·麦基/吉安尼·卡尔切蒂/
    • HD
      免费试看添逼短视频
      7.0 泰勒·阿布龙/杰西卡·阿莱恩/梅兹·阿特伍德/安德鲁·巴切勒/巴亚尔多·德·穆古拉/香奈儿·盖恩斯/伊多·戈德堡/安妮·伊隆泽/特伦斯·詹金斯/安吉拉·林/露比·莫迪恩/黑兹尔·雷内/埃文·沙夫兰/约瑟夫·斯科拉/T.I./
    • HD
      国模蒂蒂私拍私处
      6.0 丽贝卡·弗格森/大卫·奥伊罗/蒂姆·罗宾斯/科曼/拉什达·琼斯/哈丽特·瓦尔特/阿维·纳什/才那扎·乌奇/马诺伊·阿南德/露丝·霍洛克斯/Rita McDonald Damper/里克·戈麦斯/海伦马克苏德/哈隆·拉菲克/Daniel Osgood/Mariia Legun/Babita Christie/Raja Babar Khan/亨利·加勒特/阿图尔·夏尔马/丹尼尔·厄根/罗德里克·希尔/乔·惠特利/克莱尔·阿什顿/
    • HD
      射入妃英理体内
      1.0 丽兹·卡潘/乔舒亚·杰克逊/阿曼达·皮特/伯特·布洛斯/Gary Perez/Tiago Roberts/菲奈莎马丁内斯/Jesse Mackey/Alfred Smith III/安东尼·L·费尔南德斯/Michelle Twarowska/鲁本·达里奥/阿丽莎·吉勒斯/Theo Wilson/杰西卡·哈珀/托克斯·奥拉贡多耶/约翰·盖兹/旺达·德·杰索斯/大卫·苏利文/卡洛斯·普拉斯/Randy Vasquez/肯佐·李/Peggy Dunne/丹·华纳/坦琳娜·庞西/西尔·布罗迪/戴维·索西多/沈明/
     换一换

    最新资讯

    更多
    更多

    评论

    评论已关闭

    战争片排行榜

    更多