{"id":5630,"date":"2019-01-02T17:18:53","date_gmt":"2019-01-02T17:18:53","guid":{"rendered":"http:\/\/www.paginasdeldiariodesatan.com\/pdds\/?p=5630"},"modified":"2019-01-03T20:48:47","modified_gmt":"2019-01-03T20:48:47","slug":"miguel-marias-una-lista-de-preferencias-al-31-de-diciembre-de-2018","status":"publish","type":"post","link":"http:\/\/www.paginas-del-diario-de-satan.com\/pdds\/?p=5630","title":{"rendered":"MIguel Mar\u00edas, una lista de preferencias al 31 de diciembre de 2018."},"content":{"rendered":"

 <\/p>\n

\"Image<\/p>\n

 <\/p>\n

Miguel Mar\u00edas env\u00eda su lista de preferencias ajustadas al 31 de diciembre de 2018 e incluye pel\u00edculas vistas antes de 2013 y t\u00edtulos revisados. \u00a0<\/strong><\/p>\n

 <\/p>\n

A) Grandes pel\u00edculas vistas por primera vez en 2018 (hechas desde 2013):<\/b><\/span><\/span><\/p>\n

\u00a0\u00a0\u00a0 <\/span><\/b><\/p>\n

\u00a0<\/b>Le Livre d\u2019image <\/i>(The Image Book<\/i>; Jean-Luc Godard, 2018) <\/span><\/span><\/p>\n

\u00a0<\/b>La Villa <\/i>(The House by the Sea<\/i>; Robert Gu\u00e9diguian, 2017) En la foto.<\/span><\/span><\/p>\n

\u00a0Les Gardiennes <\/i>(Xavier Beauvois, 2017)<\/span><\/span><\/p>\n

\u00a0Amanda <\/i>(Mikha\u00ebl Hers, 2018)<\/span><\/span><\/p>\n

\u00a0<\/b>Battlecreek <\/i>(Alison Eastwood, 2017)<\/span><\/span><\/p>\n

\u00a0Paul Sanchez est revenu! <\/i>(Patricia Mazuy, 2018)<\/span><\/span><\/p>\n

\u00a0<\/b>Mes provinciales <\/i>(A Paris Education<\/i>; Jean Paul Civeyrac, \u00a0\u00a0\u00a0\u00a0\u00a02017\/8)<\/span><\/span><\/p>\n

\u00a0<\/b>Grass <\/i>(Hong Sang-soo, 2017\/8)<\/span><\/span><\/p>\n

\u00a05 to 7 <\/i>(Victor Levin, 2014)<\/span><\/span><\/p>\n

\u00a0Que le diable nous emporte <\/i>(Jean-Claude Brisseau, 2016\/8)<\/span><\/span><\/p>\n

The Post <\/i>(Steven Spielberg, 2017)<\/span><\/span><\/p>\n

Corniche Kennedy <\/i>(Dominique Cabrera, 2016)<\/span><\/span><\/p>\n

Bhayanakam <\/i>(Fear<\/i>; Jayaraj, 2018)<\/span><\/span><\/p>\n

As Boas Maneiras <\/i>(Good Manners<\/i>; Juliana Rojas & Marco Dutra, 2017)<\/span><\/span><\/p>\n

La Cam\u00e9ra de Claire <\/i><\/span><\/span>(Claire\u2019s Camera<\/i>; Hong Sang-soo, 2016\/7)<\/span><\/span><\/p>\n

Transit <\/i>(Christian Petzold, 2018)<\/span><\/span><\/p>\n

24 Frames <\/i>(Abbas Kiarostami, 2017)<\/span><\/span><\/p>\n

The Third Wife <\/i>(Ash Mayfair, 2018)<\/span><\/span><\/p>\n

Summer Survivors <\/i>(Marija Kavtaradz?, 2018)<\/span><\/span><\/p>\n

Den skyldige <\/i>(The Guilty;Gustav M\u00f6ller, 2017\/8)<\/span><\/span><\/p>\n

D\u2019apr\u00e8s une histoire vraie <\/i>(Roman Polanski, 2017)<\/span><\/span><\/p>\n

Shock and Awe <\/i>(Rob Reiner, 2017)<\/span><\/span><\/p>\n

Aucun regret <\/i>(Emmanuel Mouret, 2015\/6)<\/span><\/span><\/p>\n

Cin\u00e9ma documentaire, Fragments d\u2019une histoire <\/i>(Jean-Louis Comolli, 2014)<\/span><\/span><\/p>\n

\u00a0<\/span><\/i><\/p>\n

B) Grandes pel\u00edculas vistas por primera vez en\u00a02018 (hechas antes de\u00a02013):<\/span><\/b><\/p>\n

\u00a0<\/span><\/i><\/p>\n

Kumo ga chigireru toki (As the Clouds Scatter; <\/i>Gosh? Heinosuk?, 1961)<\/span><\/span><\/p>\n

Nakinureta haru no onna yo <\/i>(A Woman Crying in the Spring<\/i>; Shimizu Hiroshi, 1933)<\/span><\/span><\/p>\n

Tokai no Yokogao <\/i>(Tokyo Profile<\/i>; Shimizu Hiroshi, 1953)<\/span><\/span><\/p>\n

Some Other Spring <\/i>(Henry King, 1935)<\/span><\/span><\/p>\n

Silver City <\/i>(Byron Haskin, 1951)<\/span><\/span><\/p>\n

Laughing Anne <\/i>(Herbert Wilcox, 1953)<\/span><\/span><\/p>\n

Captain Salvation <\/i>(John S. Robertson, 1927)<\/span><\/span><\/p>\n

Behind the Door <\/i>(Irvin V. Willat, 1919)<\/span><\/span><\/p>\n

Harry Dean Stanton:Partly Fiction <\/i>(Sophie Huber, 2012)<\/span><\/span><\/p>\n

Without Love <\/i>(Harold S. Bucquet, 1945)<\/span><\/span><\/p>\n

T\u2019amer\u00f2 sempre <\/i>(Mario Camerini, 1933)<\/span><\/span><\/p>\n

Beauty\u2019s Worth <\/i>(Robert G. Vignola, 1922)<\/span><\/span><\/p>\n

Nuvem <\/i>(Ana Lu\u00edsa Guimar\u00e3es, 1991)<\/span><\/span><\/p>\n

T\u2019amer\u00f2 sempre <\/i>(Mario Camerini, 1943)<\/span><\/span><\/p>\n

The Magician <\/i>(Rex Ingram, 1926)<\/span><\/span><\/p>\n

The Grim Game\u00a0 <\/i>(Irvin V. Willat, 1919)<\/span><\/span><\/p>\n

The Michigan Kid <\/i>(Irvin V. Willat, 1928)<\/span><\/span><\/p>\n

Polifonias-Paci \u00e9 saluta, Michel Giacometti <\/i>(Pierre-Marie Goulet, 1997\/8)<\/span><\/span><\/p>\n

Carrefour <\/i>(Kurt Bernhardt, 1938)<\/span><\/span><\/p>\n

La vita ricomincia <\/i>(Mario Matt\u00f2li, 1945)<\/span><\/span><\/p>\n

Taikoki<\/i>( The Story of Hideyoshi<\/i>; Okamoto Kihachi, 1987)<\/span><\/span><\/p>\n

La Mort du jeune aviateur anglais <\/i>(Beno\u00eet Jacquot conducido por\u00a0Marguerite Duras, 1993)<\/span><\/span><\/p>\n

The Little Match Girl <\/i>(Percy Nash, 1914)<\/span><\/span><\/p>\n

\u00a0<\/span><\/p>\n

C) Muy buenas pel\u00edculas recientes vistas por primera vez en 2018\u00a0(hechas desde\u00a02013):<\/span><\/b><\/p>\n

\u00a0<\/span><\/b><\/p>\n

Roma <\/i>(Alfonso Cuar\u00f3n, 2018)<\/span><\/span><\/p>\n

Mektoub, My Love:Canto Uno <\/i>(Abdellatif Kechiche, 2017\/8)<\/span><\/span><\/p>\n

Ang Babaeng Humayo <\/i>(The Woman Who Left<\/i>;Lav Diaz, 2016)<\/span><\/span><\/p>\n

Les Fant\u00f4mes d\u2019Isma\u00ebl (Ismael\u2019s Ghosts<\/i>; Arnaud Desplechin, 2017)<\/span><\/span><\/p>\n

La enfermedad del domingo <\/i>(Ram\u00f3n Salazar, 2017)<\/span><\/span><\/p>\n

De chaque instant <\/i>(Nicolas Philibert, 2018)<\/span><\/span><\/p>\n

A f\u00e1brica de nada <\/i>(Pedro Pinho, 2017)<\/span><\/span><\/p>\n

Ce sentiment de l\u2019\u00e9t\u00e9 <\/i>(This Summer Feeling<\/i>; Mikha\u00ebl Hers, 2015)<\/span><\/span><\/p>\n

La Belle et la Belle <\/i>(Sophie Filli\u00e8res, 2018)<\/span><\/span><\/p>\n

The Cakemaker<\/i>\/Der Kuchenmacher<\/i>( El repostero de Berl\u00edn<\/i>) (Ofir Raul Graizer, 2017)<\/span><\/span><\/p>\n

Le Parc <\/i>(Damien Manivel, 2016)<\/span><\/span><\/p>\n

Apuntes para una pel\u00edcula de atracos <\/i>(Notes for a Heist Film<\/i>; (El\u00edas) Le\u00f3n Siminiani, 2018)\u00a0 <\/span><\/span><\/p>\n

The Guernsey Literary and Potato Peel Pie Society (Mike Newell<\/i>, 2018)<\/span><\/span><\/p>\n

The Children Act <\/i>(Richard Eyre, 2017)<\/span><\/span><\/p>\n

A Star Is Born <\/i>(Bradley Cooper, 2018)<\/span><\/span><\/p>\n

20<\/span>th<\/span><\/sup> Century Women <\/span><\/i>(Mike Mills, 2016)<\/span><\/span><\/p>\n

Most Beautiful Island <\/i>(Ana Asensio, 2017)<\/span><\/span><\/p>\n

Three Billboards outside Ebbing, Missouri <\/i>(Martin McDonagh, 2017)<\/span><\/span><\/p>\n

Lucky <\/i>( John Carroll Lynch, 2016\/7)<\/span><\/span><\/p>\n

Marianne Faithfull, Fleur d\u2019\u00c2me <\/i>(Sandrine Bonnaire, 2017)<\/span><\/span><\/p>\n

Gerald\u2019s Game <\/i>(Mike Flanagan, 2017)<\/span><\/span><\/p>\n

Per una rosa <\/i>(Marco Bellocchio, 2017)<\/span><\/span><\/p>\n

Sin rodeos <\/i>(Santiago Segura, 2017\/8)<\/span><\/span><\/p>\n

El Reino <\/i>(The Realm<\/i>;Rodrigo Sorogoyen, 2017\/8)<\/span><\/span><\/p>\n

Commander Arian, a story of women, war and freedom <\/i>(Alba Sotorra, 2018)<\/span><\/p>\n

Urojahaj <\/i>(The Flight; <\/i>Buddhadeb Dasgupta, 2018)<\/span><\/p>\n

The Reports on Sarah and Saleem <\/i>(Muayad Alayan, 2017\/8)<\/span><\/span><\/p>\n

Destination Wedding <\/i>(Victor Levin, 2018) <\/span><\/span><\/p>\n

What We Did On Our Holiday <\/i>(Andy Hamilton & Guy Jenkin, 2014)<\/span><\/span><\/p>\n

Lulu <\/i>(Luis Ortega, 2014)<\/span><\/span><\/p>\n

Tope <\/i>(The Bait<\/i>;Buddhadeb Dasgupta, 2016)<\/span><\/span><\/p>\n

Yo, Juan Carlos I, Rey de Espa\u00f1a <\/i>(Miguel Courtois, 2015)<\/span><\/span><\/p>\n

\u00a0<\/span><\/b><\/p>\n

D) Muy buenas pel\u00edculas vistas por primera vez en 2018 (hechas antes de\u00a02013):<\/span><\/b><\/p>\n

\u00a0<\/span><\/b><\/p>\n

He Married His Wife <\/i>(Roy Del Ruth, 1940)<\/span><\/span><\/p>\n

Die S\u00fcnderin <\/i>(Willi Forst, 1950)<\/span><\/span><\/p>\n

The Silent City <\/i>(George Sherman, 1950)<\/span><\/span><\/p>\n

Ang Paglilitis ni Andres Bonifacio <\/i>(The Trial of Andres Bonifacio<\/i>; Mario O\u2019Hara, 2010)<\/span><\/span><\/p>\n

Birth of the Blues <\/i>(Victor Schertzinger, 1941)<\/span><\/span><\/p>\n

Redskin <\/i>(Victor Schertzinger, 1928\/9)<\/span><\/span><\/p>\n

Slaughter on Tenth Avenue <\/i>(Arnold Laven, 1957)<\/span><\/span><\/p>\n

The Enchanted Cottage <\/i>(John S. Robertson, 1924)<\/span><\/span><\/p>\n

Montparnasse (Mikha\u00ebl Hers, 2009)<\/span><\/p>\n

Memory Lane (Mikha\u00ebl Hers, 2010)<\/span><\/p>\n

List\u00a0 <\/i>(Hong Sang-soo, 2011)<\/span><\/span><\/p>\n

Barricade <\/i>(Peter Godfrey, 1949)<\/span><\/span><\/p>\n

Warpath <\/i>(Byron Haskin, 1951)<\/span><\/span><\/p>\n

Zaza <\/i>(Allan Dwan, 1923)<\/span><\/span><\/p>\n

Dios se lo pague <\/i>(Luis C\u00e9sar Amadori, 1948)<\/span><\/span><\/p>\n

Vriemia zhatvy <\/i>(Harvest Time<\/i>; Marina Razbezhkina, 2004)<\/span><\/span><\/p>\n

Hawaii\u00b7M\u00e2re oke Kaisen <\/i>(The war at Sea from Hawaii to Malaya<\/i>; Yamamoto Kajir\u00f4, 1942) <\/span><\/span><\/p>\n

Stallion Road <\/i>(James V. Kern, 1947)<\/span><\/span><\/p>\n

The False Faces <\/i>(Irvin V. Willat, 1918\/9)<\/span><\/span><\/p>\n

A Summer Story <\/i>(Piers Haggard, 1988)<\/span><\/span><\/p>\n

When Knighthood Was in Flower <\/i>(Robert G. Vignola, 1922)<\/span><\/span><\/p>\n

Denver & Rio Grande <\/i>(Byron Haskin, 1951\/2)<\/span><\/span><\/p>\n

The Man Is Armed <\/i>(Franklin Adreon, 1956)<\/span><\/span><\/p>\n

Terror at Midnight <\/i>(Franklin Adreon, 1956)<\/span><\/span><\/p>\n

Behold My Wife! <\/i>(Mitchell Leisen, 1934)<\/span><\/span><\/p>\n

Shadow on The Wall <\/i>(Patrick Jackson, 1949\/50)<\/span><\/span><\/p>\n

The Vanishing American<\/i>\/Zane Grey\u2019s \u2018The Vanishing American\u2019<\/i> (Joe Kane, 1955)<\/span><\/span><\/p>\n

Medicine for Melancholy <\/i>(Barry Jenkins, 2008)<\/span><\/span><\/p>\n

Ride Out for Revenge <\/i>(Bernard Girard, 1957)<\/span><\/span><\/p>\n

The Tall Stranger <\/i>(Thomas H. Carr, 1957)<\/span><\/span><\/p>\n

Every Picture Tells A Story <\/i>(James Scott, 1983\/4)<\/span><\/span><\/p>\n

Portrait of a Mobster <\/i>(Joseph Pevney, 1961)<\/span><\/span><\/p>\n

High Time <\/i>(Blake Edwards, 1950)<\/span><\/span><\/p>\n

Spring Fever <\/i>(Edgard Sedgwick, 1927)<\/span><\/span><\/p>\n

Relentless<\/i>(George Sherman, 1947)<\/span><\/span><\/p>\n

Flor de Durazno <\/i>(Miguel Zacar\u00edas, 1945)<\/span><\/span><\/p>\n

Loophole <\/i>(Harold D. Schuster, 1954)<\/span><\/span><\/p>\n

The Wild Party <\/i>(Harry Horner, 1956)<\/span><\/span><\/p>\n

British Agent <\/i>( Michael Curtiz, 1934)<\/span><\/span><\/p>\n

6 Hours to Live<\/i>( William Dieterle, 1932)<\/span><\/span><\/p>\n

The Story of Temple Drake <\/i>(Stephen Roberts, 1933)<\/span><\/span><\/p>\n

La Vie<\/i> de plaisir <\/i>(Albert Valentin, 1943\/4)<\/span><\/span><\/p>\n

The Sellout <\/i>(Gerald Mayer, 1951\/2)<\/span><\/span><\/p>\n

Des filles en noir <\/i>(Jean Paul Civeyrac, 2010)<\/span><\/span><\/p>\n

Without Warning! <\/i>(Arnold Laven, 1952)<\/span><\/span><\/p>\n

Kanikuly <\/i>(Holidays<\/i>; Marina Razbezhkina, 2006)<\/span><\/span><\/p>\n

It\u2019s a Great Feeling <\/i>(David Butler, 1949)<\/span><\/span><\/p>\n

The Gaucho <\/i>(F.Richard Jones, 1927)<\/span><\/span><\/p>\n

Something To Sing About <\/i>(Victor Schertzinger, 1937)<\/span><\/span><\/p>\n

A Lost Lady <\/i>(Alfred E. Green, 1934)<\/span><\/span><\/p>\n

24 Hours <\/i>(Marion Gering, 1931)<\/span><\/span><\/p>\n

Thirty Day Princess <\/i>(Marion Gering, 1934)<\/span><\/span><\/p>\n

Guns Girls and Gangsters <\/i>(Edward L. Cahn, 1958\/9)<\/span><\/span><\/p>\n

The Marauders <\/i>(Gerald Mayer, 1955)<\/span><\/span><\/p>\n

Dial 1119 <\/i>(Gerald Mayer, 1950)<\/span><\/span><\/p>\n

Crashing Hollywood <\/i>(Lew Landers, 1937\/8)<\/span><\/span><\/p>\n

Barcelona trabaja para el Frente <\/i>(Mateo Santos, 1936)<\/span><\/span><\/p>\n

Drom\u00f3manos <\/i>(Roamers<\/i>; Luis Ortega, 2012)<\/span><\/span><\/p>\n

The Love Light <\/i>(Frances Marion, 1920\/1)<\/span><\/span><\/p>\n

Verbena Tr\u00e1gica <\/i>(Tragic Festival<\/i>;Charles Lamont, 1938)<\/span><\/span><\/p>\n

\u00a0<\/span><\/b><\/p>\n

E) Grandes pel\u00edculas que mejoran:<\/span><\/b><\/p>\n

\u00a0<\/span><\/b><\/p>\n

The Four Horsemen of the Apocalypse <\/i>(Vincente Minnelli, 1961)<\/span><\/span><\/p>\n

Love Letters <\/i>(William Dieterle, 1945)<\/span><\/span><\/p>\n

The Story of Dr. Wassell <\/i>(Cecil B. DeMille, 1944) <\/span><\/span><\/p>\n

Scandal Sheet <\/i>(The Dark Page<\/i>) (Phil Karlson, 1951\/2)<\/span><\/span><\/p>\n

The Saga of Anatahan <\/i>(Josef von Sternberg, 1953\/\/8)<\/span><\/span><\/p>\n

Liberty <\/i>(Leo McCarey, 1929)<\/span><\/span><\/p>\n

Smart Woman <\/i>(Gregory LaCava, 1931)<\/span><\/span><\/p>\n

Road House <\/i>(Jean Negulesco, 1948)<\/span><\/span><\/p>\n

Goodbye Charlie <\/i>(Vincente Minnelli, 1964)<\/span><\/span><\/p>\n

Forbidden Fruit <\/i>(Cecil B. DeMille, 1921)<\/span><\/span><\/p>\n

Where East Is East <\/i>(Tod Browning, 1929)<\/span><\/span><\/p>\n

Kvinnodr\u00f6m <\/i>(Ingmar Bergman, 1955)<\/span><\/span><\/p>\n

The Golden Chance <\/i>(Cecil B. DeMille, 1915)<\/span><\/span><\/p>\n

Adam\u2019s Rib <\/i>(Cecil B. DeMille, 1923)<\/span><\/span><\/p>\n

Cinq et la peau <\/i>(Pierre Rissient, 1980\/1\/2)<\/span><\/span><\/p>\n

Nobody Lives Forever <\/i>(Jean Negulesco, 1946)<\/span><\/span><\/p>\n

Gallant Lady <\/i>(Gregory LaCava, 1933)<\/span><\/span><\/p>\n

The Purchase Price <\/i>(William A. Wellman, 1932)<\/span><\/span><\/p>\n

The Big Sleep <\/i>(Howard Hawks, 1945\/6)<\/span><\/span><\/p>\n

V\u00edctimas del Pecado <\/i>(Victims of Sin<\/i>; Emilio \u2018Indio\u2019 Fern\u00e1ndez, 1950\/1)<\/span><\/span><\/p>\n

Alice in den St\u00e4dten <\/i>(Wim Wenders, 1974)<\/span><\/span><\/p>\n

Rails & Ties <\/i>(Alison Eastwood, 2007)<\/span><\/span><\/p>\n

Jolanda, la figlia del Corsano Nero <\/i>(Mario Soldati, 1952\/3)<\/span><\/span><\/p>\n

The Wild Bunch <\/i>(Sam Peckinpah, 1969)<\/span><\/span><\/p>\n

Der Br\u00e4utigam, die Kom\u00f6diantin und der Zuh\u00e4lter <\/i>(Jean-Marie Straub, 1968)<\/span><\/span><\/p>\n

The File On Thelma Jordon <\/i>(Robert Siodmak, 1949)<\/span><\/span><\/p>\n

The Shanghai Gesture <\/i>(Josef von Sternberg, 1941)<\/span><\/span><\/p>\n

Les Cousins <\/i>(The Cousins; Claude Chabrol, 1958\/9)<\/span><\/span><\/p>\n

The Covered Wagon <\/i>(James Cruze, 1923)<\/span><\/span><\/p>\n

Indiscreet <\/i>(Leo McCarey, 1931)<\/span><\/span><\/p>\n

V\u00e0mpir Cuadecuc<\/i>\/Cuadecuc Vampir <\/i>(Pere Portabella, 1970)<\/span><\/span><\/p>\n

Six of a Kind <\/i>(Leo McCarey, 1933)<\/span><\/span><\/p>\n

Crimen <\/i>(Mario Camerini, 1960)<\/span><\/span><\/p>\n

Una storia d\u2019amore <\/i>(Mario Camerini, 1942)<\/span><\/span><\/p>\n

Suzanne Simonin La Religieuse de Denis Diderot <\/i>(Jacques Rivette, 1966)<\/span><\/span><\/p>\n

E Agora? Lembra-me <\/i>(Joaquim Pinto & Nuno Leonel, 2013)<\/span><\/span><\/p>\n

\u00a0<\/span><\/b><\/p>\n

F) Muy buenas pel\u00edculas vistas una vez m\u00e1s:<\/span><\/b><\/p>\n

\u00a0<\/span><\/b><\/p>\n

Kak zakalial\u00e1s st\u00e1l <\/i>(Mark Donsko\u00ed; coll.Iuli\u00ed Ra\u00edzman, 1942)<\/span><\/span><\/p>\n

Sentimental Journey <\/i>(Walter Lang, 1946)<\/span><\/span><\/p>\n

Odette <\/i>(Herbert Wilcox, 1950)<\/span><\/span><\/p>\n

In Love and War <\/i>(Philip Dunne, 1958) <\/span><\/span><\/p>\n

Storm Fear <\/i>(Cornel Wilde, 1955)<\/span><\/span><\/p>\n

Wild Company <\/i>(Leo McCarey, 1930)<\/span><\/span><\/p>\n

Lady In A Jam <\/i>(Gregory LaCava, 1942)<\/span><\/span><\/p>\n

Passage West <\/i>(Lewis R. Foster, 1951)<\/span><\/span><\/p>\n

Sal\u00f3n M\u00e9xico <\/i>(Emilio \u2018Indio\u2019 Fern\u00e1ndez, 1948\/9)<\/span><\/span><\/p>\n

Wild Oranges <\/i>(King Vidor, 1923)<\/span><\/span><\/p>\n

Streets of Laredo <\/i>(Leslie Fenton, 1948\/9)<\/span><\/span><\/p>\n

The Redhead and the Cowboy <\/i>(Leslie Fenton, 1950\/1)<\/span><\/span><\/p>\n

Tumbleweed <\/i>(Nathan Juran, 1953)<\/span><\/span><\/p>\n

The Conquerors <\/i>(The Pioneer Builders<\/i>; William A. Wellman, 1932)<\/span><\/span><\/p>\n

Ein Leben f\u00fcr Deutschland:Admiral Canaris <\/i>(Alfred Weidenmann, 1954)<\/span><\/span><\/p>\n

Eye of the Needle <\/i>(Richard Marquand, 1981)<\/span><\/span><\/p>\n

Stranger At My Door <\/i>(William Witney, 1956)<\/span><\/span><\/p>\n

Rails Into Laramie <\/i>(Jesse Hibbs, 1954)<\/span><\/span><\/p>\n

Children of Men <\/i>(Alfonso Cuar\u00f3n, 2006)<\/span><\/span><\/p>\n

Kommunisten <\/i>(Jean-Marie Straub, 2014)<\/span><\/span><\/p>\n

A Death in the Gunj <\/i>(Konkona Sensharma, 2016)<\/span><\/span><\/p>\n

Black Gold <\/i>(Phil Karlson, 1947)<\/span><\/span><\/p>\n

Mar\u00eda de la O <\/i>(Francisco El\u00edas, 1936\/\/9)<\/span><\/span><\/p>\n

Oh, You Beautiful Doll <\/i><\/span><\/span>(John M. Stahl, 1949)<\/span><\/span><\/p>\n

Zona Roja <\/i>(Red Zone<\/i>; Emilio \u2018Indio\u2019 Fern\u00e1ndez, 1975\/6)<\/span><\/span><\/p>\n

Shirley-Visions of Reality <\/i>(Gustav Deutsch, 20\u00a0 )<\/span><\/span><\/p>\n

Executive Action <\/i>(David Miller, 1973)<\/span><\/span><\/p>\n

Swiss Family Robinson <\/i>(Ken Annakin, 1960)<\/span><\/span><\/p>\n

Devil and the Deep <\/i>(Marion Gering, 1932)<\/span><\/span><\/p>\n

Rumor Has It… <\/i>(Rob Reiner, 2005)<\/span><\/span><\/p>\n

Kept Husbands <\/i>(Lloyd Bacon, 1936)<\/span><\/span><\/p>\n

\u00a0<\/span><\/p>\n

Miguel Mar\u00edas<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

    Miguel Mar\u00edas env\u00eda su lista de preferencias ajustadas al 31 de diciembre de 2018 e incluye pel\u00edculas vistas antes de 2013 y t\u00edtulos revisados. \u00a0   A) Grandes pel\u00edculas vistas por primera vez en 2018 (hechas desde 2013): \u00a0\u00a0\u00a0 \u00a0Le Livre d\u2019image (The Image Book; Jean-Luc Godard, 2018) \u00a0La Villa (The House by […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[999,998],"tags":[],"_links":{"self":[{"href":"http:\/\/www.paginas-del-diario-de-satan.com\/pdds\/index.php?rest_route=\/wp\/v2\/posts\/5630"}],"collection":[{"href":"http:\/\/www.paginas-del-diario-de-satan.com\/pdds\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/www.paginas-del-diario-de-satan.com\/pdds\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/www.paginas-del-diario-de-satan.com\/pdds\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/www.paginas-del-diario-de-satan.com\/pdds\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=5630"}],"version-history":[{"count":4,"href":"http:\/\/www.paginas-del-diario-de-satan.com\/pdds\/index.php?rest_route=\/wp\/v2\/posts\/5630\/revisions"}],"predecessor-version":[{"id":5633,"href":"http:\/\/www.paginas-del-diario-de-satan.com\/pdds\/index.php?rest_route=\/wp\/v2\/posts\/5630\/revisions\/5633"}],"wp:attachment":[{"href":"http:\/\/www.paginas-del-diario-de-satan.com\/pdds\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=5630"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/www.paginas-del-diario-de-satan.com\/pdds\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=5630"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/www.paginas-del-diario-de-satan.com\/pdds\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=5630"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}