Malayalam Full Movie ๐
Saturday, 30 May 2020
Friday, 29 May 2020
เดฎเดฒเดฏเดพเดณเด เดซเตเตพ เดฎเตเดตเดฟ
Be that as it may, the industry despite everything doesn't get the credit it merits, and in spite of the fact that it has amassed more consideration it ongoing occasions, with regards to Indian film all in all, the Malayalam business despite everything will in general fly under the radar. Many have frantically clung to Bollywood as the most important thing in the world of Indian film. But then all it truly takes is one film, the correct film, to open up an entirely different universe of film which is invigorating as it is natural. Take, for instance, Anjali Menon's Bangalore Days, which is an extraordinary attack into Malayalam film โ it's a totally different true to life world to investigate.
A Brief Background
To place things into setting, Malayalam film, or 'Mollywood' as it's lovingly known, is one of the four true to life enterprises from the South which incorporates the Tamil, Telegu and Kannada film brotherhoods. Malayalam is the fourth biggest Indian film industry in the country after Telegu, Tamil and Hindi, carefully passing by the quantity of movies made every year. The enormous qualification and differentiator of Malayalam motion pictures is they are far less star centered, which implies the film, story and content are rulers, a key driver of why the business is relegating some genuinely heavenly film. There are no dominant Khans as such whose face entices the majority and sets the movies ablaze, paying little heed to how senseless the substance might be.
This notoriety of value film with relatable subjects goes back to the '70s and '80s, frequently alluded to as the brilliant time of Malayalam film, with executives, for example, Adoor Gopalakrishnan and John Abraham (no connection to the Bollywood on-screen character), who was praised as a pioneer in cutting edge filmmaking at that point, with films like Amma Ariyan (1986) and Trisandhya (1972). Huge numbers of the motion pictures discharged during this time were known to have limited the hole between workmanship house and business film with movies, for example, Mrigaya (1989), Oru Vadakkan Veeragatha (1989) and Kireedam (1989). This period additionally considered the to be of stars, for example, Mamootty, Mohanlal and Suresh Gopi. The decade following, be that as it may, saw a droop in the nature of movies being made, in the late '90s and 2000s, as they were to a great extent directed by over-the-top droll comedies with hardly any movies of genuine legitimacy.
The New Generation
This was until the 2010s when the business saw the terrific renaissance of Malayalam films with what is being known as the 'New Generation,' much the same as the Marathi New Wave. Actuated by films like Ritu (2009) and Traffic (2011), this realistic resurrection is down to another age of youthful chiefs like Jeethu Joseph, Rajesh Pillai and Anjali Menon, who are managing strange subjects and new account methods. Also another harvest of entertainers like, for example, Dalquer Sulman, Fahad Fazil and Niven Pauly, who are promptly playing various types of characters onscreen without conveying the star tag. Maybe the most interesting part of this restoration is this new flood of Malayalam movie producers are profoundly affected by worldwide film, which has brought about refreshingly various types of narrating yet despite everything established in Malayalee life and issues.
Malayalam Full Movie
Malayalam Full Movie ๐
Ask any individual who's even remotely acquainted with the business, and they will let you know there is something unmistakably extraordinary and exceptional about Malayalam motion pictures being made today. On the off chance that provincial film is the dark horse of Indian film, with Bollywood hoarding the spotlight, at that point Malayalam film is no uncertainty the longshot of those local ventures. The Kerala-based film industry is getting progressively all around presumed for delivering probably the best motion pictures in the nation a seemingly endless amount of time after year, close by Marathi film which is correspondingly presenting some genuinely notable movies. The Malayalam film industry is turning an ever increasing number of heads for the specialized nature of their motion pictures close by inventive narrating and investigation of socially significant issues.
Be that as it may, the industry despite everything doesn't get the credit it merits, and in spite of the fact that it has amassed more consideration it ongoing occasions, with regards to Indian film all in all, the Malayalam business despite everything will in general fly under the radar. Many have frantically clung to Bollywood as the most important thing in the world of Indian film. But then all it truly takes is one film, the correct film, to open up an entirely different universe of film which is invigorating as it is natural. Take, for instance, Anjali Menon's Bangalore Days, which is an extraordinary attack into Malayalam film โ it's a totally different true to life world to investigate.
A Brief Background
To place things into setting, Malayalam film, or 'Mollywood' as it's lovingly known, is one of the four true to life enterprises from the South which incorporates the Tamil, Telegu and Kannada film brotherhoods. Malayalam is the fourth biggest Indian film industry in the country after Telegu, Tamil and Hindi, carefully passing by the quantity of movies made every year. The enormous qualification and differentiator of Malayalam motion pictures is they are far less star centered, which implies the film, story and content are rulers, a key driver of why the business is relegating some genuinely heavenly film. There are no dominant Khans as such whose face entices the majority and sets the movies ablaze, paying little heed to how senseless the substance might be.
This notoriety of value film with relatable subjects goes back to the '70s and '80s, frequently alluded to as the brilliant time of Malayalam film, with executives, for example, Adoor Gopalakrishnan and John Abraham (no connection to the Bollywood on-screen character), who was praised as a pioneer in cutting edge filmmaking at that point, with films like Amma Ariyan (1986) and Trisandhya (1972). Huge numbers of the motion pictures discharged during this time were known to have limited the hole between workmanship house and business film with movies, for example, Mrigaya (1989), Oru Vadakkan Veeragatha (1989) and Kireedam (1989). This period additionally considered the to be of stars, for example, Mamootty, Mohanlal and Suresh Gopi. The decade following, be that as it may, saw a droop in the nature of movies being made, in the late '90s and 2000s, as they were to a great extent directed by over-the-top droll comedies with hardly any movies of genuine legitimacy.
The New Generation
This was until the 2010s when the business saw the terrific renaissance of Malayalam films with what is being known as the 'New Generation,' much the same as the Marathi New Wave. Actuated by films like Ritu (2009) and Traffic (2011), this realistic resurrection is down to another age of youthful chiefs like Jeethu Joseph, Rajesh Pillai and Anjali Menon, who are managing strange subjects and new account methods. Also another harvest of entertainers like, for example, Dalquer Sulman, Fahad Fazil and Niven Pauly, who are promptly playing various types of characters onscreen without conveying the star tag. Maybe the most interesting part of this restoration is this new flood of Malayalam movie producers are profoundly affected by worldwide film, which has brought about refreshingly various types of narrating yet despite everything established in Malayalee life and issues.
Be that as it may, the industry despite everything doesn't get the credit it merits, and in spite of the fact that it has amassed more consideration it ongoing occasions, with regards to Indian film all in all, the Malayalam business despite everything will in general fly under the radar. Many have frantically clung to Bollywood as the most important thing in the world of Indian film. But then all it truly takes is one film, the correct film, to open up an entirely different universe of film which is invigorating as it is natural. Take, for instance, Anjali Menon's Bangalore Days, which is an extraordinary attack into Malayalam film โ it's a totally different true to life world to investigate.
A Brief Background
To place things into setting, Malayalam film, or 'Mollywood' as it's lovingly known, is one of the four true to life enterprises from the South which incorporates the Tamil, Telegu and Kannada film brotherhoods. Malayalam is the fourth biggest Indian film industry in the country after Telegu, Tamil and Hindi, carefully passing by the quantity of movies made every year. The enormous qualification and differentiator of Malayalam motion pictures is they are far less star centered, which implies the film, story and content are rulers, a key driver of why the business is relegating some genuinely heavenly film. There are no dominant Khans as such whose face entices the majority and sets the movies ablaze, paying little heed to how senseless the substance might be.
This notoriety of value film with relatable subjects goes back to the '70s and '80s, frequently alluded to as the brilliant time of Malayalam film, with executives, for example, Adoor Gopalakrishnan and John Abraham (no connection to the Bollywood on-screen character), who was praised as a pioneer in cutting edge filmmaking at that point, with films like Amma Ariyan (1986) and Trisandhya (1972). Huge numbers of the motion pictures discharged during this time were known to have limited the hole between workmanship house and business film with movies, for example, Mrigaya (1989), Oru Vadakkan Veeragatha (1989) and Kireedam (1989). This period additionally considered the to be of stars, for example, Mamootty, Mohanlal and Suresh Gopi. The decade following, be that as it may, saw a droop in the nature of movies being made, in the late '90s and 2000s, as they were to a great extent directed by over-the-top droll comedies with hardly any movies of genuine legitimacy.
The New Generation
This was until the 2010s when the business saw the terrific renaissance of Malayalam films with what is being known as the 'New Generation,' much the same as the Marathi New Wave. Actuated by films like Ritu (2009) and Traffic (2011), this realistic resurrection is down to another age of youthful chiefs like Jeethu Joseph, Rajesh Pillai and Anjali Menon, who are managing strange subjects and new account methods. Also another harvest of entertainers like, for example, Dalquer Sulman, Fahad Fazil and Niven Pauly, who are promptly playing various types of characters onscreen without conveying the star tag. Maybe the most interesting part of this restoration is this new flood of Malayalam movie producers are profoundly affected by worldwide film, which has brought about refreshingly various types of narrating yet despite everything established in Malayalee life and issues.
Thursday, 28 May 2020
Malayalam Full Movie
Be that as it may, the industry despite everything doesn't get the credit it merits, and in spite of the fact that it has amassed more consideration it ongoing occasions, with regards to Indian film all in all, the Malayalam business despite everything will in general fly under the radar. Many have frantically clung to Bollywood as the most important thing in the world of Indian film. But then all it truly takes is one film, the correct film, to open up an entirely different universe of film which is invigorating as it is natural. Take, for instance, Anjali Menon's Bangalore Days, which is an extraordinary attack into Malayalam film โ it's a totally different true to life world to investigate.
A Brief Background
To place things into setting, Malayalam film, or 'Mollywood' as it's lovingly known, is one of the four true to life enterprises from the South which incorporates the Tamil, Telegu and Kannada film brotherhoods. Malayalam is the fourth biggest Indian film industry in the country after Telegu, Tamil and Hindi, carefully passing by the quantity of movies made every year. The enormous qualification and differentiator of Malayalam motion pictures is they are far less star centered, which implies the film, story and content are rulers, a key driver of why the business is relegating some genuinely heavenly film. There are no dominant Khans as such whose face entices the majority and sets the movies ablaze, paying little heed to how senseless the substance might be.
This notoriety of value film with relatable subjects goes back to the '70s and '80s, frequently alluded to as the brilliant time of Malayalam film, with executives, for example, Adoor Gopalakrishnan and John Abraham (no connection to the Bollywood on-screen character), who was praised as a pioneer in cutting edge filmmaking at that point, with films like Amma Ariyan (1986) and Trisandhya (1972). Huge numbers of the motion pictures discharged during this time were known to have limited the hole between workmanship house and business film with movies, for example, Mrigaya (1989), Oru Vadakkan Veeragatha (1989) and Kireedam (1989). This period additionally considered the to be of stars, for example, Mamootty, Mohanlal and Suresh Gopi. The decade following, be that as it may, saw a droop in the nature of movies being made, in the late '90s and 2000s, as they were to a great extent directed by over-the-top droll comedies with hardly any movies of genuine legitimacy.
The New Generation
This was until the 2010s when the business saw the terrific renaissance of Malayalam films with what is being known as the 'New Generation,' much the same as the Marathi New Wave. Actuated by films like Ritu (2009) and Traffic (2011), this realistic resurrection is down to another age of youthful chiefs like Jeethu Joseph, Rajesh Pillai and Anjali Menon, who are managing strange subjects and new account methods. Also another harvest of entertainers like, for example, Dalquer Sulman, Fahad Fazil and Niven Pauly, who are promptly playing various types of characters onscreen without conveying the star tag. Maybe the most interesting part of this restoration is this new flood of Malayalam movie producers are profoundly affected by worldwide film, which has brought about refreshingly various types of narrating yet despite everything established in Malayalee life and issues.
Tuesday, 26 May 2020
Malayalam Full Movie
https://alfad.pro/go/266933/567818
Ask any individual who's even remotely acquainted with the business, and they will let you know there is something unmistakably extraordinary and exceptional about Malayalam motion pictures being made today. On the off chance that provincial film is the dark horse of Indian film, with Bollywood hoarding the spotlight, at that point Malayalam film is no uncertainty the longshot of those local ventures. The Kerala-based film industry is getting progressively all around presumed for delivering probably the best motion pictures in the nation a seemingly endless amount of time after year, close by Marathi film which is correspondingly presenting some genuinely notable movies. The Malayalam film industry is turning an ever increasing number of heads for the specialized nature of their motion pictures close by inventive narrating and investigation of socially significant issues.Be that as it may, the industry despite everything doesn't get the credit it merits, and in spite of the fact that it has amassed more consideration it ongoing occasions, with regards to Indian film all in all, the Malayalam business despite everything will in general fly under the radar. Many have frantically clung to Bollywood as the most important thing in the world of Indian film. But then all it truly takes is one film, the correct film, to open up an entirely different universe of film which is invigorating as it is natural. Take, for instance, Anjali Menon's Bangalore Days, which is an extraordinary attack into Malayalam film โ it's a totally different true to life world to investigate.
A Brief Background
To place things into setting, Malayalam film, or 'Mollywood' as it's lovingly known, is one of the four true to life enterprises from the South which incorporates the Tamil, Telegu and Kannada film brotherhoods. Malayalam is the fourth biggest Indian film industry in the country after Telegu, Tamil and Hindi, carefully passing by the quantity of movies made every year. The enormous qualification and differentiator of Malayalam motion pictures is they are far less star centered, which implies the film, story and content are rulers, a key driver of why the business is relegating some genuinely heavenly film. There are no dominant Khans as such whose face entices the majority and sets the movies ablaze, paying little heed to how senseless the substance might be.
This notoriety of value film with relatable subjects goes back to the '70s and '80s, frequently alluded to as the brilliant time of Malayalam film, with executives, for example, Adoor Gopalakrishnan and John Abraham (no connection to the Bollywood on-screen character), who was praised as a pioneer in cutting edge filmmaking at that point, with films like Amma Ariyan (1986) and Trisandhya (1972). Huge numbers of the motion pictures discharged during this time were known to have limited the hole between workmanship house and business film with movies, for example, Mrigaya (1989), Oru Vadakkan Veeragatha (1989) and Kireedam (1989). This period additionally considered the to be of stars, for example, Mamootty, Mohanlal and Suresh Gopi. The decade following, be that as it may, saw a droop in the nature of movies being made, in the late '90s and 2000s, as they were to a great extent directed by over-the-top droll comedies with hardly any movies of genuine legitimacy.
The New Generation
This was until the 2010s when the business saw the terrific renaissance of Malayalam films with what is being known as the 'New Generation,' much the same as the Marathi New Wave. Actuated by films like Ritu (2009) and Traffic (2011), this realistic resurrection is down to another age of youthful chiefs like Jeethu Joseph, Rajesh Pillai and Anjali Menon, who are managing strange subjects and new account methods. Also another harvest of entertainers like, for example, Dalquer Sulman, Fahad Fazil and Niven Pauly, who are promptly playing various types of characters onscreen without conveying the star tag. Maybe the most interesting part of this restoration is this new flood of Malayalam movie producers are profoundly affected by worldwide film, which has brought about refreshingly various types of narrating yet despite everything established in Malayalee life and issues.
Monday, 25 May 2020
Sunday, 24 May 2020
Malayalam Full Movie
Malayalam Full Movie ๐
Ask any individual who's even remotely acquainted with the business, and they will let you know there is something unmistakably extraordinary and exceptional about Malayalam motion pictures being made today. On the off chance that provincial film is the dark horse of Indian film, with Bollywood hoarding the spotlight, at that point Malayalam film is no uncertainty the longshot of those local ventures. The Kerala-based film industry is getting progressively all around presumed for delivering probably the best motion pictures in the nation a seemingly endless amount of time after year, close by Marathi film which is correspondingly presenting some genuinely notable movies. The Malayalam film industry is turning an ever increasing number of heads for the specialized nature of their motion pictures close by inventive narrating and investigation of socially significant issues.
Be that as it may, the industry despite everything doesn't get the credit it merits, and in spite of the fact that it has amassed more consideration it ongoing occasions, with regards to Indian film all in all, the Malayalam business despite everything will in general fly under the radar. Many have frantically clung to Bollywood as the most important thing in the world of Indian film. But then all it truly takes is one film, the correct film, to open up an entirely different universe of film which is invigorating as it is natural. Take, for instance, Anjali Menon's Bangalore Days, which is an extraordinary attack into Malayalam film โ it's a totally different true to life world to investigate.
A Brief Background
To place things into setting, Malayalam film, or 'Mollywood' as it's lovingly known, is one of the four true to life enterprises from the South which incorporates the Tamil, Telegu and Kannada film brotherhoods. Malayalam is the fourth biggest Indian film industry in the country after Telegu, Tamil and Hindi, carefully passing by the quantity of movies made every year. The enormous qualification and differentiator of Malayalam motion pictures is they are far less star centered, which implies the film, story and content are rulers, a key driver of why the business is relegating some genuinely heavenly film. There are no dominant Khans as such whose face entices the majority and sets the movies ablaze, paying little heed to how senseless the substance might be.
This notoriety of value film with relatable subjects goes back to the '70s and '80s, frequently alluded to as the brilliant time of Malayalam film, with executives, for example, Adoor Gopalakrishnan and John Abraham (no connection to the Bollywood on-screen character), who was praised as a pioneer in cutting edge filmmaking at that point, with films like Amma Ariyan (1986) and Trisandhya (1972). Huge numbers of the motion pictures discharged during this time were known to have limited the hole between workmanship house and business film with movies, for example, Mrigaya (1989), Oru Vadakkan Veeragatha (1989) and Kireedam (1989). This period additionally considered the to be of stars, for example, Mamootty, Mohanlal and Suresh Gopi. The decade following, be that as it may, saw a droop in the nature of movies being made, in the late '90s and 2000s, as they were to a great extent directed by over-the-top droll comedies with hardly any movies of genuine legitimacy.
The New Generation
This was until the 2010s when the business saw the terrific renaissance of Malayalam films with what is being known as the 'New Generation,' much the same as the Marathi New Wave. Actuated by films like Ritu (2009) and Traffic (2011), this realistic resurrection is down to another age of youthful chiefs like Jeethu Joseph, Rajesh Pillai and Anjali Menon, who are managing strange subjects and new account methods. Also another harvest of entertainers like, for example, Dalquer Sulman, Fahad Fazil and Niven Pauly, who are promptly playing various types of characters onscreen without conveying the star tag. Maybe the most interesting part of this restoration is this new flood of Malayalam movie producers are profoundly affected by worldwide film, which has brought about refreshingly various types of narrating yet despite everything established in Malayalee life and issues.
Be that as it may, the industry despite everything doesn't get the credit it merits, and in spite of the fact that it has amassed more consideration it ongoing occasions, with regards to Indian film all in all, the Malayalam business despite everything will in general fly under the radar. Many have frantically clung to Bollywood as the most important thing in the world of Indian film. But then all it truly takes is one film, the correct film, to open up an entirely different universe of film which is invigorating as it is natural. Take, for instance, Anjali Menon's Bangalore Days, which is an extraordinary attack into Malayalam film โ it's a totally different true to life world to investigate.
A Brief Background
To place things into setting, Malayalam film, or 'Mollywood' as it's lovingly known, is one of the four true to life enterprises from the South which incorporates the Tamil, Telegu and Kannada film brotherhoods. Malayalam is the fourth biggest Indian film industry in the country after Telegu, Tamil and Hindi, carefully passing by the quantity of movies made every year. The enormous qualification and differentiator of Malayalam motion pictures is they are far less star centered, which implies the film, story and content are rulers, a key driver of why the business is relegating some genuinely heavenly film. There are no dominant Khans as such whose face entices the majority and sets the movies ablaze, paying little heed to how senseless the substance might be.
This notoriety of value film with relatable subjects goes back to the '70s and '80s, frequently alluded to as the brilliant time of Malayalam film, with executives, for example, Adoor Gopalakrishnan and John Abraham (no connection to the Bollywood on-screen character), who was praised as a pioneer in cutting edge filmmaking at that point, with films like Amma Ariyan (1986) and Trisandhya (1972). Huge numbers of the motion pictures discharged during this time were known to have limited the hole between workmanship house and business film with movies, for example, Mrigaya (1989), Oru Vadakkan Veeragatha (1989) and Kireedam (1989). This period additionally considered the to be of stars, for example, Mamootty, Mohanlal and Suresh Gopi. The decade following, be that as it may, saw a droop in the nature of movies being made, in the late '90s and 2000s, as they were to a great extent directed by over-the-top droll comedies with hardly any movies of genuine legitimacy.
The New Generation
This was until the 2010s when the business saw the terrific renaissance of Malayalam films with what is being known as the 'New Generation,' much the same as the Marathi New Wave. Actuated by films like Ritu (2009) and Traffic (2011), this realistic resurrection is down to another age of youthful chiefs like Jeethu Joseph, Rajesh Pillai and Anjali Menon, who are managing strange subjects and new account methods. Also another harvest of entertainers like, for example, Dalquer Sulman, Fahad Fazil and Niven Pauly, who are promptly playing various types of characters onscreen without conveying the star tag. Maybe the most interesting part of this restoration is this new flood of Malayalam movie producers are profoundly affected by worldwide film, which has brought about refreshingly various types of narrating yet despite everything established in Malayalee life and issues.
Malayalam Full Movie
Be that as it may, the industry despite everything doesn't get the credit it merits, and in spite of the fact that it has amassed more consideration it ongoing occasions, with regards to Indian film all in all, the Malayalam business despite everything will in general fly under the radar. Many have frantically clung to Bollywood as the most important thing in the world of Indian film. But then all it truly takes is one film, the correct film, to open up an entirely different universe of film which is invigorating as it is natural. Take, for instance, Anjali Menon's Bangalore Days, which is an extraordinary attack into Malayalam film โ it's a totally different true to life world to investigate.
A Brief Background
To place things into setting, Malayalam film, or 'Mollywood' as it's lovingly known, is one of the four true to life enterprises from the South which incorporates the Tamil, Telegu and Kannada film brotherhoods. Malayalam is the fourth biggest Indian film industry in the country after Telegu, Tamil and Hindi, carefully passing by the quantity of movies made every year. The enormous qualification and differentiator of Malayalam motion pictures is they are far less star centered, which implies the film, story and content are rulers, a key driver of why the business is relegating some genuinely heavenly film. There are no dominant Khans as such whose face entices the majority and sets the movies ablaze, paying little heed to how senseless the substance might be.
This notoriety of value film with relatable subjects goes back to the '70s and '80s, frequently alluded to as the brilliant time of Malayalam film, with executives, for example, Adoor Gopalakrishnan and John Abraham (no connection to the Bollywood on-screen character), who was praised as a pioneer in cutting edge filmmaking at that point, with films like Amma Ariyan (1986) and Trisandhya (1972). Huge numbers of the motion pictures discharged during this time were known to have limited the hole between workmanship house and business film with movies, for example, Mrigaya (1989), Oru Vadakkan Veeragatha (1989) and Kireedam (1989). This period additionally considered the to be of stars, for example, Mamootty, Mohanlal and Suresh Gopi. The decade following, be that as it may, saw a droop in the nature of movies being made, in the late '90s and 2000s, as they were to a great extent directed by over-the-top droll comedies with hardly any movies of genuine legitimacy.
The New Generation
This was until the 2010s when the business saw the terrific renaissance of Malayalam films with what is being known as the 'New Generation,' much the same as the Marathi New Wave. Actuated by films like Ritu (2009) and Traffic (2011), this realistic resurrection is down to another age of youthful chiefs like Jeethu Joseph, Rajesh Pillai and Anjali Menon, who are managing strange subjects and new account methods. Also another harvest of entertainers like, for example, Dalquer Sulman, Fahad Fazil and Niven Pauly, who are promptly playing various types of characters onscreen without conveying the star tag. Maybe the most interesting part of this restoration is this new flood of Malayalam movie producers are profoundly affected by worldwide film, which has brought about refreshingly various types of narrating yet despite everything established in Malayalee life and issues.
Friday, 22 May 2020
Malayalam Full Movie
Malayalam Full Movie
Ask any individual who's even remotely acquainted with the business, and they will let you know there is something unmistakably extraordinary and exceptional about Malayalam motion pictures being made today. On the off chance that provincial film is the dark horse of Indian film, with Bollywood hoarding the spotlight, at that point Malayalam film is no uncertainty the longshot of those local ventures. The Kerala-based film industry is getting progressively all around presumed for delivering probably the best motion pictures in the nation a seemingly endless amount of time after year, close by Marathi film which is correspondingly presenting some genuinely notable movies. The Malayalam film industry is turning an ever increasing number of heads for the specialized nature of their motion pictures close by inventive narrating and investigation of socially significant issues.
Be that as it may, the industry despite everything doesn't get the credit it merits, and in spite of the fact that it has amassed more consideration it ongoing occasions, with regards to Indian film all in all, the Malayalam business despite everything will in general fly under the radar. Many have frantically clung to Bollywood as the most important thing in the world of Indian film. But then all it truly takes is one film, the correct film, to open up an entirely different universe of film which is invigorating as it is natural. Take, for instance, Anjali Menon's Bangalore Days, which is an extraordinary attack into Malayalam film โ it's a totally different true to life world to investigate.
A Brief Background
To place things into setting, Malayalam film, or 'Mollywood' as it's lovingly known, is one of the four true to life enterprises from the South which incorporates the Tamil, Telegu and Kannada film brotherhoods. Malayalam is the fourth biggest Indian film industry in the country after Telegu, Tamil and Hindi, carefully passing by the quantity of movies made every year. The enormous qualification and differentiator of Malayalam motion pictures is they are far less star centered, which implies the film, story and content are rulers, a key driver of why the business is relegating some genuinely heavenly film. There are no dominant Khans as such whose face entices the majority and sets the movies ablaze, paying little heed to how senseless the substance might be.
This notoriety of value film with relatable subjects goes back to the '70s and '80s, frequently alluded to as the brilliant time of Malayalam film, with executives, for example, Adoor Gopalakrishnan and John Abraham (no connection to the Bollywood on-screen character), who was praised as a pioneer in cutting edge filmmaking at that point, with films like Amma Ariyan (1986) and Trisandhya (1972). Huge numbers of the motion pictures discharged during this time were known to have limited the hole between workmanship house and business film with movies, for example, Mrigaya (1989), Oru Vadakkan Veeragatha (1989) and Kireedam (1989). This period additionally considered the to be of stars, for example, Mamootty, Mohanlal and Suresh Gopi. The decade following, be that as it may, saw a droop in the nature of movies being made, in the late '90s and 2000s, as they were to a great extent directed by over-the-top droll comedies with hardly any movies of genuine legitimacy.
The New Generation
This was until the 2010s when the business saw the terrific renaissance of Malayalam films with what is being known as the 'New Generation,' much the same as the Marathi New Wave. Actuated by films like Ritu (2009) and Traffic (2011), this realistic resurrection is down to another age of youthful chiefs like Jeethu Joseph, Rajesh Pillai and Anjali Menon, who are managing strange subjects and new account methods. Also another harvest of entertainers like, for example, Dalquer Sulman, Fahad Fazil and Niven Pauly, who are promptly playing various types of characters onscreen without conveying the star tag. Maybe the most interesting part of this restoration is this new flood of Malayalam movie producers are profoundly affected by worldwide film, which has brought about refreshingly various types of narrating yet despite everything established in Malayalee life and issues.
Ask any individual who's even remotely acquainted with the business, and they will let you know there is something unmistakably extraordinary and exceptional about Malayalam motion pictures being made today. On the off chance that provincial film is the dark horse of Indian film, with Bollywood hoarding the spotlight, at that point Malayalam film is no uncertainty the longshot of those local ventures. The Kerala-based film industry is getting progressively all around presumed for delivering probably the best motion pictures in the nation a seemingly endless amount of time after year, close by Marathi film which is correspondingly presenting some genuinely notable movies. The Malayalam film industry is turning an ever increasing number of heads for the specialized nature of their motion pictures close by inventive narrating and investigation of socially significant issues.
Be that as it may, the industry despite everything doesn't get the credit it merits, and in spite of the fact that it has amassed more consideration it ongoing occasions, with regards to Indian film all in all, the Malayalam business despite everything will in general fly under the radar. Many have frantically clung to Bollywood as the most important thing in the world of Indian film. But then all it truly takes is one film, the correct film, to open up an entirely different universe of film which is invigorating as it is natural. Take, for instance, Anjali Menon's Bangalore Days, which is an extraordinary attack into Malayalam film โ it's a totally different true to life world to investigate.
A Brief Background
To place things into setting, Malayalam film, or 'Mollywood' as it's lovingly known, is one of the four true to life enterprises from the South which incorporates the Tamil, Telegu and Kannada film brotherhoods. Malayalam is the fourth biggest Indian film industry in the country after Telegu, Tamil and Hindi, carefully passing by the quantity of movies made every year. The enormous qualification and differentiator of Malayalam motion pictures is they are far less star centered, which implies the film, story and content are rulers, a key driver of why the business is relegating some genuinely heavenly film. There are no dominant Khans as such whose face entices the majority and sets the movies ablaze, paying little heed to how senseless the substance might be.
This notoriety of value film with relatable subjects goes back to the '70s and '80s, frequently alluded to as the brilliant time of Malayalam film, with executives, for example, Adoor Gopalakrishnan and John Abraham (no connection to the Bollywood on-screen character), who was praised as a pioneer in cutting edge filmmaking at that point, with films like Amma Ariyan (1986) and Trisandhya (1972). Huge numbers of the motion pictures discharged during this time were known to have limited the hole between workmanship house and business film with movies, for example, Mrigaya (1989), Oru Vadakkan Veeragatha (1989) and Kireedam (1989). This period additionally considered the to be of stars, for example, Mamootty, Mohanlal and Suresh Gopi. The decade following, be that as it may, saw a droop in the nature of movies being made, in the late '90s and 2000s, as they were to a great extent directed by over-the-top droll comedies with hardly any movies of genuine legitimacy.
The New Generation
This was until the 2010s when the business saw the terrific renaissance of Malayalam films with what is being known as the 'New Generation,' much the same as the Marathi New Wave. Actuated by films like Ritu (2009) and Traffic (2011), this realistic resurrection is down to another age of youthful chiefs like Jeethu Joseph, Rajesh Pillai and Anjali Menon, who are managing strange subjects and new account methods. Also another harvest of entertainers like, for example, Dalquer Sulman, Fahad Fazil and Niven Pauly, who are promptly playing various types of characters onscreen without conveying the star tag. Maybe the most interesting part of this restoration is this new flood of Malayalam movie producers are profoundly affected by worldwide film, which has brought about refreshingly various types of narrating yet despite everything established in Malayalee life and issues.
Malayalam Full Movie
Malayalam full movie ๐
Be that as it may, the industry despite everything doesn't get the credit it merits, and in spite of the fact that it has amassed more consideration it ongoing occasions, with regards to Indian film all in all, the Malayalam business despite everything will in general fly under the radar. Many have frantically clung to Bollywood as the most important thing in the world of Indian film. But then all it truly takes is one film, the correct film, to open up an entirely different universe of film which is invigorating as it is natural. Take, for instance, Anjali Menon's Bangalore Days, which is an extraordinary attack into Malayalam film โ it's a totally different true to life world to investigate.
A Brief Background
To place things into setting, Malayalam film, or 'Mollywood' as it's lovingly known, is one of the four true to life enterprises from the South which incorporates the Tamil, Telegu and Kannada film brotherhoods. Malayalam is the fourth biggest Indian film industry in the country after Telegu, Tamil and Hindi, carefully passing by the quantity of movies made every year. The enormous qualification and differentiator of Malayalam motion pictures is they are far less star centered, which implies the film, story and content are rulers, a key driver of why the business is relegating some genuinely heavenly film. There are no dominant Khans as such whose face entices the majority and sets the movies ablaze, paying little heed to how senseless the substance might be.
This notoriety of value film with relatable subjects goes back to the '70s and '80s, frequently alluded to as the brilliant time of Malayalam film, with executives, for example, Adoor Gopalakrishnan and John Abraham (no connection to the Bollywood on-screen character), who was praised as a pioneer in cutting edge filmmaking at that point, with films like Amma Ariyan (1986) and Trisandhya (1972). Huge numbers of the motion pictures discharged during this time were known to have limited the hole between workmanship house and business film with movies, for example, Mrigaya (1989), Oru Vadakkan Veeragatha (1989) and Kireedam (1989). This period additionally considered the to be of stars, for example, Mamootty, Mohanlal and Suresh Gopi. The decade following, be that as it may, saw a droop in the nature of movies being made, in the late '90s and 2000s, as they were to a great extent directed by over-the-top droll comedies with hardly any movies of genuine legitimacy.
The New Generation
This was until the 2010s when the business saw the terrific renaissance of Malayalam films with what is being known as the 'New Generation,' much the same as the Marathi New Wave. Actuated by films like Ritu (2009) and Traffic (2011), this realistic resurrection is down to another age of youthful chiefs like Jeethu Joseph, Rajesh Pillai and Anjali Menon, who are managing strange subjects and new account methods. Also another harvest of entertainers like, for example, Dalquer Sulman, Fahad Fazil and Niven Pauly, who are promptly playing various types of characters onscreen without conveying the star tag. Maybe the most interesting part of this restoration is this new flood of Malayalam movie producers are profoundly affected by worldwide film, which has brought about refreshingly various types of narrating yet despite everything established in Malayalee life and issues.
Thursday, 21 May 2020
Malayalam Movie
Malayalam Full Movie ๐
Ask any individual who's even remotely acquainted with the business, and they will let you know there is something unmistakably extraordinary and exceptional about Malayalam motion pictures being made today. On the off chance that provincial film is the dark horse of Indian film, with Bollywood hoarding the spotlight, at that point Malayalam film is no uncertainty the longshot of those local ventures. The Kerala-based film industry is getting progressively all around presumed for delivering probably the best motion pictures in the nation a seemingly endless amount of time after year, close by Marathi film which is correspondingly presenting some genuinely notable movies. The Malayalam film industry is turning an ever increasing number of heads for the specialized nature of their motion pictures close by inventive narrating and investigation of socially significant issues.
Be that as it may, the industry despite everything doesn't get the credit it merits, and in spite of the fact that it has amassed more consideration it ongoing occasions, with regards to Indian film all in all, the Malayalam business despite everything will in general fly under the radar. Many have frantically clung to Bollywood as the most important thing in the world of Indian film. But then all it truly takes is one film, the correct film, to open up an entirely different universe of film which is invigorating as it is natural. Take, for instance, Anjali Menon's Bangalore Days, which is an extraordinary attack into Malayalam film โ it's a totally different true to life world to investigate.
A Brief Background
To place things into setting, Malayalam film, or 'Mollywood' as it's lovingly known, is one of the four true to life enterprises from the South which incorporates the Tamil, Telegu and Kannada film brotherhoods. Malayalam is the fourth biggest Indian film industry in the country after Telegu, Tamil and Hindi, carefully passing by the quantity of movies made every year. The enormous qualification and differentiator of Malayalam motion pictures is they are far less star centered, which implies the film, story and content are rulers, a key driver of why the business is relegating some genuinely heavenly film. There are no dominant Khans as such whose face entices the majority and sets the movies ablaze, paying little heed to how senseless the substance might be.
This notoriety of value film with relatable subjects goes back to the '70s and '80s, frequently alluded to as the brilliant time of Malayalam film, with executives, for example, Adoor Gopalakrishnan and John Abraham (no connection to the Bollywood on-screen character), who was praised as a pioneer in cutting edge filmmaking at that point, with films like Amma Ariyan (1986) and Trisandhya (1972). Huge numbers of the motion pictures discharged during this time were known to have limited the hole between workmanship house and business film with movies, for example, Mrigaya (1989), Oru Vadakkan Veeragatha (1989) and Kireedam (1989). This period additionally considered the to be of stars, for example, Mamootty, Mohanlal and Suresh Gopi. The decade following, be that as it may, saw a droop in the nature of movies being made, in the late '90s and 2000s, as they were to a great extent directed by over-the-top droll comedies with hardly any movies of genuine legitimacy.
The New Generation
This was until the 2010s when the business saw the terrific renaissance of Malayalam films with what is being known as the 'New Generation,' much the same as the Marathi New Wave. Actuated by films like Ritu (2009) and Traffic (2011), this realistic resurrection is down to another age of youthful chiefs like Jeethu Joseph, Rajesh Pillai and Anjali Menon, who are managing strange subjects and new account methods. Also another harvest of entertainers like, for example, Dalquer Sulman, Fahad Fazil and Niven Pauly, who are promptly playing various types of characters onscreen without conveying the star tag. Maybe the most interesting part of this restoration is this new flood of Malayalam movie producers are profoundly affected by worldwide film, which has brought about refreshingly various types of narrating yet despite everything established in Malayalee life and issues.
Be that as it may, the industry despite everything doesn't get the credit it merits, and in spite of the fact that it has amassed more consideration it ongoing occasions, with regards to Indian film all in all, the Malayalam business despite everything will in general fly under the radar. Many have frantically clung to Bollywood as the most important thing in the world of Indian film. But then all it truly takes is one film, the correct film, to open up an entirely different universe of film which is invigorating as it is natural. Take, for instance, Anjali Menon's Bangalore Days, which is an extraordinary attack into Malayalam film โ it's a totally different true to life world to investigate.
A Brief Background
To place things into setting, Malayalam film, or 'Mollywood' as it's lovingly known, is one of the four true to life enterprises from the South which incorporates the Tamil, Telegu and Kannada film brotherhoods. Malayalam is the fourth biggest Indian film industry in the country after Telegu, Tamil and Hindi, carefully passing by the quantity of movies made every year. The enormous qualification and differentiator of Malayalam motion pictures is they are far less star centered, which implies the film, story and content are rulers, a key driver of why the business is relegating some genuinely heavenly film. There are no dominant Khans as such whose face entices the majority and sets the movies ablaze, paying little heed to how senseless the substance might be.
This notoriety of value film with relatable subjects goes back to the '70s and '80s, frequently alluded to as the brilliant time of Malayalam film, with executives, for example, Adoor Gopalakrishnan and John Abraham (no connection to the Bollywood on-screen character), who was praised as a pioneer in cutting edge filmmaking at that point, with films like Amma Ariyan (1986) and Trisandhya (1972). Huge numbers of the motion pictures discharged during this time were known to have limited the hole between workmanship house and business film with movies, for example, Mrigaya (1989), Oru Vadakkan Veeragatha (1989) and Kireedam (1989). This period additionally considered the to be of stars, for example, Mamootty, Mohanlal and Suresh Gopi. The decade following, be that as it may, saw a droop in the nature of movies being made, in the late '90s and 2000s, as they were to a great extent directed by over-the-top droll comedies with hardly any movies of genuine legitimacy.
The New Generation
This was until the 2010s when the business saw the terrific renaissance of Malayalam films with what is being known as the 'New Generation,' much the same as the Marathi New Wave. Actuated by films like Ritu (2009) and Traffic (2011), this realistic resurrection is down to another age of youthful chiefs like Jeethu Joseph, Rajesh Pillai and Anjali Menon, who are managing strange subjects and new account methods. Also another harvest of entertainers like, for example, Dalquer Sulman, Fahad Fazil and Niven Pauly, who are promptly playing various types of characters onscreen without conveying the star tag. Maybe the most interesting part of this restoration is this new flood of Malayalam movie producers are profoundly affected by worldwide film, which has brought about refreshingly various types of narrating yet despite everything established in Malayalee life and issues.
Wednesday, 20 May 2020
Malayalam Full Movie
Malayalam Full Movie ๐
Ask any individual who's even remotely acquainted with the business, and they will let you know there is something unmistakably extraordinary and exceptional about Malayalam motion pictures being made today. On the off chance that provincial film is the dark horse of Indian film, with Bollywood hoarding the spotlight, at that point Malayalam film is no uncertainty the longshot of those local ventures. The Kerala-based film industry is getting progressively all around presumed for delivering probably the best motion pictures in the nation a seemingly endless amount of time after year, close by Marathi film which is correspondingly presenting some genuinely notable movies. The Malayalam film industry is turning an ever increasing number of heads for the specialized nature of their motion pictures close by inventive narrating and investigation of socially significant issues.
Be that as it may, the industry despite everything doesn't get the credit it merits, and in spite of the fact that it has amassed more consideration it ongoing occasions, with regards to Indian film all in all, the Malayalam business despite everything will in general fly under the radar. Many have frantically clung to Bollywood as the most important thing in the world of Indian film. But then all it truly takes is one film, the correct film, to open up an entirely different universe of film which is invigorating as it is natural. Take, for instance, Anjali Menon's Bangalore Days, which is an extraordinary attack into Malayalam film โ it's a totally different true to life world to investigate.
A Brief Background
To place things into setting, Malayalam film, or 'Mollywood' as it's lovingly known, is one of the four true to life enterprises from the South which incorporates the Tamil, Telegu and Kannada film brotherhoods. Malayalam is the fourth biggest Indian film industry in the country after Telegu, Tamil and Hindi, carefully passing by the quantity of movies made every year. The enormous qualification and differentiator of Malayalam motion pictures is they are far less star centered, which implies the film, story and content are rulers, a key driver of why the business is relegating some genuinely heavenly film. There are no dominant Khans as such whose face entices the majority and sets the movies ablaze, paying little heed to how senseless the substance might be.
This notoriety of value film with relatable subjects goes back to the '70s and '80s, frequently alluded to as the brilliant time of Malayalam film, with executives, for example, Adoor Gopalakrishnan and John Abraham (no connection to the Bollywood on-screen character), who was praised as a pioneer in cutting edge filmmaking at that point, with films like Amma Ariyan (1986) and Trisandhya (1972). Huge numbers of the motion pictures discharged during this time were known to have limited the hole between workmanship house and business film with movies, for example, Mrigaya (1989), Oru Vadakkan Veeragatha (1989) and Kireedam (1989). This period additionally considered the to be of stars, for example, Mamootty, Mohanlal and Suresh Gopi. The decade following, be that as it may, saw a droop in the nature of movies being made, in the late '90s and 2000s, as they were to a great extent directed by over-the-top droll comedies with hardly any movies of genuine legitimacy.
The New Generation
This was until the 2010s when the business saw the terrific renaissance of Malayalam films with what is being known as the 'New Generation,' much the same as the Marathi New Wave. Actuated by films like Ritu (2009) and Traffic (2011), this realistic resurrection is down to another age of youthful chiefs like Jeethu Joseph, Rajesh Pillai and Anjali Menon, who are managing strange subjects and new account methods. Also another harvest of entertainers like, for example, Dalquer Sulman, Fahad Fazil and Niven Pauly, who are promptly playing various types of characters onscreen without conveying the star tag. Maybe the most interesting part of this restoration is this new flood of Malayalam movie producers are profoundly affected by worldwide film, which has brought about refreshingly various types of narrating yet despite everything established in Malayalee life and issues.
Be that as it may, the industry despite everything doesn't get the credit it merits, and in spite of the fact that it has amassed more consideration it ongoing occasions, with regards to Indian film all in all, the Malayalam business despite everything will in general fly under the radar. Many have frantically clung to Bollywood as the most important thing in the world of Indian film. But then all it truly takes is one film, the correct film, to open up an entirely different universe of film which is invigorating as it is natural. Take, for instance, Anjali Menon's Bangalore Days, which is an extraordinary attack into Malayalam film โ it's a totally different true to life world to investigate.
A Brief Background
To place things into setting, Malayalam film, or 'Mollywood' as it's lovingly known, is one of the four true to life enterprises from the South which incorporates the Tamil, Telegu and Kannada film brotherhoods. Malayalam is the fourth biggest Indian film industry in the country after Telegu, Tamil and Hindi, carefully passing by the quantity of movies made every year. The enormous qualification and differentiator of Malayalam motion pictures is they are far less star centered, which implies the film, story and content are rulers, a key driver of why the business is relegating some genuinely heavenly film. There are no dominant Khans as such whose face entices the majority and sets the movies ablaze, paying little heed to how senseless the substance might be.
This notoriety of value film with relatable subjects goes back to the '70s and '80s, frequently alluded to as the brilliant time of Malayalam film, with executives, for example, Adoor Gopalakrishnan and John Abraham (no connection to the Bollywood on-screen character), who was praised as a pioneer in cutting edge filmmaking at that point, with films like Amma Ariyan (1986) and Trisandhya (1972). Huge numbers of the motion pictures discharged during this time were known to have limited the hole between workmanship house and business film with movies, for example, Mrigaya (1989), Oru Vadakkan Veeragatha (1989) and Kireedam (1989). This period additionally considered the to be of stars, for example, Mamootty, Mohanlal and Suresh Gopi. The decade following, be that as it may, saw a droop in the nature of movies being made, in the late '90s and 2000s, as they were to a great extent directed by over-the-top droll comedies with hardly any movies of genuine legitimacy.
The New Generation
This was until the 2010s when the business saw the terrific renaissance of Malayalam films with what is being known as the 'New Generation,' much the same as the Marathi New Wave. Actuated by films like Ritu (2009) and Traffic (2011), this realistic resurrection is down to another age of youthful chiefs like Jeethu Joseph, Rajesh Pillai and Anjali Menon, who are managing strange subjects and new account methods. Also another harvest of entertainers like, for example, Dalquer Sulman, Fahad Fazil and Niven Pauly, who are promptly playing various types of characters onscreen without conveying the star tag. Maybe the most interesting part of this restoration is this new flood of Malayalam movie producers are profoundly affected by worldwide film, which has brought about refreshingly various types of narrating yet despite everything established in Malayalee life and issues.
Tuesday, 19 May 2020
เดฎเดฒเดฏเดพเดณเด เดซเตเตพ เดฎเตเดตเดฟ
Be that as it may, the industry despite everything doesn't get the credit it merits, and in spite of the fact that it has amassed more consideration it ongoing occasions, with regards to Indian film all in all, the Malayalam business despite everything will in general fly under the radar. Many have frantically clung to Bollywood as the most important thing in the world of Indian film. But then all it truly takes is one film, the correct film, to open up an entirely different universe of film which is invigorating as it is natural. Take, for instance, Anjali Menon's Bangalore Days, which is an extraordinary attack into Malayalam film โ it's a totally different true to life world to investigate.
A Brief Background
To place things into setting, Malayalam film, or 'Mollywood' as it's lovingly known, is one of the four true to life enterprises from the South which incorporates the Tamil, Telegu and Kannada film brotherhoods. Malayalam is the fourth biggest Indian film industry in the country after Telegu, Tamil and Hindi, carefully passing by the quantity of movies made every year. The enormous qualification and differentiator of Malayalam motion pictures is they are far less star centered, which implies the film, story and content are rulers, a key driver of why the business is relegating some genuinely heavenly film. There are no dominant Khans as such whose face entices the majority and sets the movies ablaze, paying little heed to how senseless the substance might be.
This notoriety of value film with relatable subjects goes back to the '70s and '80s, frequently alluded to as the brilliant time of Malayalam film, with executives, for example, Adoor Gopalakrishnan and John Abraham (no connection to the Bollywood on-screen character), who was praised as a pioneer in cutting edge filmmaking at that point, with films like Amma Ariyan (1986) and Trisandhya (1972). Huge numbers of the motion pictures discharged during this time were known to have limited the hole between workmanship house and business film with movies, for example, Mrigaya (1989), Oru Vadakkan Veeragatha (1989) and Kireedam (1989). This period additionally considered the to be of stars, for example, Mamootty, Mohanlal and Suresh Gopi. The decade following, be that as it may, saw a droop in the nature of movies being made, in the late '90s and 2000s, as they were to a great extent directed by over-the-top droll comedies with hardly any movies of genuine legitimacy.
The New Generation
This was until the 2010s when the business saw the terrific renaissance of Malayalam films with what is being known as the 'New Generation,' much the same as the Marathi New Wave. Actuated by films like Ritu (2009) and Traffic (2011), this realistic resurrection is down to another age of youthful chiefs like Jeethu Joseph, Rajesh Pillai and Anjali Menon, who are managing strange subjects and new account methods. Also another harvest of entertainers like, for example, Dalquer Sulman, Fahad Fazil and Niven Pauly, who are promptly playing various types of characters onscreen without conveying the star tag. Maybe the most interesting part of this restoration is this new flood of Malayalam movie producers are profoundly affected by worldwide film, which has brought about refreshingly various types of narrating yet despite everything established in Malayalee life and issues.
Malayalam Full Movie
Malayalam Full Movie ๐
Ask any individual who's even remotely acquainted with the business, and they will let you know there is something unmistakably extraordinary and exceptional about Malayalam motion pictures being made today. On the off chance that provincial film is the dark horse of Indian film, with Bollywood hoarding the spotlight, at that point Malayalam film is no uncertainty the longshot of those local ventures. The Kerala-based film industry is getting progressively all around presumed for delivering probably the best motion pictures in the nation a seemingly endless amount of time after year, close by Marathi film which is correspondingly presenting some genuinely notable movies. The Malayalam film industry is turning an ever increasing number of heads for the specialized nature of their motion pictures close by inventive narrating and investigation of socially significant issues.
Be that as it may, the industry despite everything doesn't get the credit it merits, and in spite of the fact that it has amassed more consideration it ongoing occasions, with regards to Indian film all in all, the Malayalam business despite everything will in general fly under the radar. Many have frantically clung to Bollywood as the most important thing in the world of Indian film. But then all it truly takes is one film, the correct film, to open up an entirely different universe of film which is invigorating as it is natural. Take, for instance, Anjali Menon's Bangalore Days, which is an extraordinary attack into Malayalam film โ it's a totally different true to life world to investigate.
A Brief Background
To place things into setting, Malayalam film, or 'Mollywood' as it's lovingly known, is one of the four true to life enterprises from the South which incorporates the Tamil, Telegu and Kannada film brotherhoods. Malayalam is the fourth biggest Indian film industry in the country after Telegu, Tamil and Hindi, carefully passing by the quantity of movies made every year. The enormous qualification and differentiator of Malayalam motion pictures is they are far less star centered, which implies the film, story and content are rulers, a key driver of why the business is relegating some genuinely heavenly film. There are no dominant Khans as such whose face entices the majority and sets the movies ablaze, paying little heed to how senseless the substance might be.
This notoriety of value film with relatable subjects goes back to the '70s and '80s, frequently alluded to as the brilliant time of Malayalam film, with executives, for example, Adoor Gopalakrishnan and John Abraham (no connection to the Bollywood on-screen character), who was praised as a pioneer in cutting edge filmmaking at that point, with films like Amma Ariyan (1986) and Trisandhya (1972). Huge numbers of the motion pictures discharged during this time were known to have limited the hole between workmanship house and business film with movies, for example, Mrigaya (1989), Oru Vadakkan Veeragatha (1989) and Kireedam (1989). This period additionally considered the to be of stars, for example, Mamootty, Mohanlal and Suresh Gopi. The decade following, be that as it may, saw a droop in the nature of movies being made, in the late '90s and 2000s, as they were to a great extent directed by over-the-top droll comedies with hardly any movies of genuine legitimacy.
The New Generation
This was until the 2010s when the business saw the terrific renaissance of Malayalam films with what is being known as the 'New Generation,' much the same as the Marathi New Wave. Actuated by films like Ritu (2009) and Traffic (2011), this realistic resurrection is down to another age of youthful chiefs like Jeethu Joseph, Rajesh Pillai and Anjali Menon, who are managing strange subjects and new account methods. Also another harvest of entertainers like, for example, Dalquer Sulman, Fahad Fazil and Niven Pauly, who are promptly playing various types of characters onscreen without conveying the star tag. Maybe the most interesting part of this restoration is this new flood of Malayalam movie producers are profoundly affected by worldwide film, which has brought about refreshingly various types of narrating yet despite everything established in Malayalee life and issues.
Be that as it may, the industry despite everything doesn't get the credit it merits, and in spite of the fact that it has amassed more consideration it ongoing occasions, with regards to Indian film all in all, the Malayalam business despite everything will in general fly under the radar. Many have frantically clung to Bollywood as the most important thing in the world of Indian film. But then all it truly takes is one film, the correct film, to open up an entirely different universe of film which is invigorating as it is natural. Take, for instance, Anjali Menon's Bangalore Days, which is an extraordinary attack into Malayalam film โ it's a totally different true to life world to investigate.
A Brief Background
To place things into setting, Malayalam film, or 'Mollywood' as it's lovingly known, is one of the four true to life enterprises from the South which incorporates the Tamil, Telegu and Kannada film brotherhoods. Malayalam is the fourth biggest Indian film industry in the country after Telegu, Tamil and Hindi, carefully passing by the quantity of movies made every year. The enormous qualification and differentiator of Malayalam motion pictures is they are far less star centered, which implies the film, story and content are rulers, a key driver of why the business is relegating some genuinely heavenly film. There are no dominant Khans as such whose face entices the majority and sets the movies ablaze, paying little heed to how senseless the substance might be.
This notoriety of value film with relatable subjects goes back to the '70s and '80s, frequently alluded to as the brilliant time of Malayalam film, with executives, for example, Adoor Gopalakrishnan and John Abraham (no connection to the Bollywood on-screen character), who was praised as a pioneer in cutting edge filmmaking at that point, with films like Amma Ariyan (1986) and Trisandhya (1972). Huge numbers of the motion pictures discharged during this time were known to have limited the hole between workmanship house and business film with movies, for example, Mrigaya (1989), Oru Vadakkan Veeragatha (1989) and Kireedam (1989). This period additionally considered the to be of stars, for example, Mamootty, Mohanlal and Suresh Gopi. The decade following, be that as it may, saw a droop in the nature of movies being made, in the late '90s and 2000s, as they were to a great extent directed by over-the-top droll comedies with hardly any movies of genuine legitimacy.
The New Generation
This was until the 2010s when the business saw the terrific renaissance of Malayalam films with what is being known as the 'New Generation,' much the same as the Marathi New Wave. Actuated by films like Ritu (2009) and Traffic (2011), this realistic resurrection is down to another age of youthful chiefs like Jeethu Joseph, Rajesh Pillai and Anjali Menon, who are managing strange subjects and new account methods. Also another harvest of entertainers like, for example, Dalquer Sulman, Fahad Fazil and Niven Pauly, who are promptly playing various types of characters onscreen without conveying the star tag. Maybe the most interesting part of this restoration is this new flood of Malayalam movie producers are profoundly affected by worldwide film, which has brought about refreshingly various types of narrating yet despite everything established in Malayalee life and issues.
Malayalam Full Movie
Malayalam Full Movie ๐
Ask any individual who's even remotely acquainted with the business, and they will let you know there is something unmistakably extraordinary and exceptional about Malayalam motion pictures being made today. On the off chance that provincial film is the dark horse of Indian film, with Bollywood hoarding the spotlight, at that point Malayalam film is no uncertainty the longshot of those local ventures. The Kerala-based film industry is getting progressively all around presumed for delivering probably the best motion pictures in the nation a seemingly endless amount of time after year, close by Marathi film which is correspondingly presenting some genuinely notable movies. The Malayalam film industry is turning an ever increasing number of heads for the specialized nature of their motion pictures close by inventive narrating and investigation of socially significant issues.
Be that as it may, the industry despite everything doesn't get the credit it merits, and in spite of the fact that it has amassed more consideration it ongoing occasions, with regards to Indian film all in all, the Malayalam business despite everything will in general fly under the radar. Many have frantically clung to Bollywood as the most important thing in the world of Indian film. But then all it truly takes is one film, the correct film, to open up an entirely different universe of film which is invigorating as it is natural. Take, for instance, Anjali Menon's Bangalore Days, which is an extraordinary attack into Malayalam film โ it's a totally different true to life world to investigate.
A Brief Background
To place things into setting, Malayalam film, or 'Mollywood' as it's lovingly known, is one of the four true to life enterprises from the South which incorporates the Tamil, Telegu and Kannada film brotherhoods. Malayalam is the fourth biggest Indian film industry in the country after Telegu, Tamil and Hindi, carefully passing by the quantity of movies made every year. The enormous qualification and differentiator of Malayalam motion pictures is they are far less star centered, which implies the film, story and content are rulers, a key driver of why the business is relegating some genuinely heavenly film. There are no dominant Khans as such whose face entices the majority and sets the movies ablaze, paying little heed to how senseless the substance might be.
This notoriety of value film with relatable subjects goes back to the '70s and '80s, frequently alluded to as the brilliant time of Malayalam film, with executives, for example, Adoor Gopalakrishnan and John Abraham (no connection to the Bollywood on-screen character), who was praised as a pioneer in cutting edge filmmaking at that point, with films like Amma Ariyan (1986) and Trisandhya (1972). Huge numbers of the motion pictures discharged during this time were known to have limited the hole between workmanship house and business film with movies, for example, Mrigaya (1989), Oru Vadakkan Veeragatha (1989) and Kireedam (1989). This period additionally considered the to be of stars, for example, Mamootty, Mohanlal and Suresh Gopi. The decade following, be that as it may, saw a droop in the nature of movies being made, in the late '90s and 2000s, as they were to a great extent directed by over-the-top droll comedies with hardly any movies of genuine legitimacy.
The New Generation
This was until the 2010s when the business saw the terrific renaissance of Malayalam films with what is being known as the 'New Generation,' much the same as the Marathi New Wave. Actuated by films like Ritu (2009) and Traffic (2011), this realistic resurrection is down to another age of youthful chiefs like Jeethu Joseph, Rajesh Pillai and Anjali Menon, who are managing strange subjects and new account methods. Also another harvest of entertainers like, for example, Dalquer Sulman, Fahad Fazil and Niven Pauly, who are promptly playing various types of characters onscreen without conveying the star tag. Maybe the most interesting part of this restoration is this new flood of Malayalam movie producers are profoundly affected by worldwide film, which has brought about refreshingly various types of narrating yet despite everything established in Malayalee life and issues.
Be that as it may, the industry despite everything doesn't get the credit it merits, and in spite of the fact that it has amassed more consideration it ongoing occasions, with regards to Indian film all in all, the Malayalam business despite everything will in general fly under the radar. Many have frantically clung to Bollywood as the most important thing in the world of Indian film. But then all it truly takes is one film, the correct film, to open up an entirely different universe of film which is invigorating as it is natural. Take, for instance, Anjali Menon's Bangalore Days, which is an extraordinary attack into Malayalam film โ it's a totally different true to life world to investigate.
A Brief Background
To place things into setting, Malayalam film, or 'Mollywood' as it's lovingly known, is one of the four true to life enterprises from the South which incorporates the Tamil, Telegu and Kannada film brotherhoods. Malayalam is the fourth biggest Indian film industry in the country after Telegu, Tamil and Hindi, carefully passing by the quantity of movies made every year. The enormous qualification and differentiator of Malayalam motion pictures is they are far less star centered, which implies the film, story and content are rulers, a key driver of why the business is relegating some genuinely heavenly film. There are no dominant Khans as such whose face entices the majority and sets the movies ablaze, paying little heed to how senseless the substance might be.
This notoriety of value film with relatable subjects goes back to the '70s and '80s, frequently alluded to as the brilliant time of Malayalam film, with executives, for example, Adoor Gopalakrishnan and John Abraham (no connection to the Bollywood on-screen character), who was praised as a pioneer in cutting edge filmmaking at that point, with films like Amma Ariyan (1986) and Trisandhya (1972). Huge numbers of the motion pictures discharged during this time were known to have limited the hole between workmanship house and business film with movies, for example, Mrigaya (1989), Oru Vadakkan Veeragatha (1989) and Kireedam (1989). This period additionally considered the to be of stars, for example, Mamootty, Mohanlal and Suresh Gopi. The decade following, be that as it may, saw a droop in the nature of movies being made, in the late '90s and 2000s, as they were to a great extent directed by over-the-top droll comedies with hardly any movies of genuine legitimacy.
The New Generation
This was until the 2010s when the business saw the terrific renaissance of Malayalam films with what is being known as the 'New Generation,' much the same as the Marathi New Wave. Actuated by films like Ritu (2009) and Traffic (2011), this realistic resurrection is down to another age of youthful chiefs like Jeethu Joseph, Rajesh Pillai and Anjali Menon, who are managing strange subjects and new account methods. Also another harvest of entertainers like, for example, Dalquer Sulman, Fahad Fazil and Niven Pauly, who are promptly playing various types of characters onscreen without conveying the star tag. Maybe the most interesting part of this restoration is this new flood of Malayalam movie producers are profoundly affected by worldwide film, which has brought about refreshingly various types of narrating yet despite everything established in Malayalee life and issues.
Monday, 18 May 2020
Sunday, 17 May 2020
Saturday, 16 May 2020
เดฎเดฒเดฏเดพเดณ เดธเดฟเดจเดฟเดฎเดฏเดฟเตฝ เดเดคเตเดฐ เดธเดฟเดจเดฟเดฎเดเตพ 50 เดเตเดเดฟ เดเตเดฒเดฌเตเดฌเดฟเตฝ เดเดเด เดชเดฟเดเดฟเดเตเดเต|All 50cr Club Movies in Malayalam
เดฎเดฒเดฏเดพเดณ เดธเดฟเดจเดฟเดฎเดฏเดฟเตฝ เดเดคเตเดฐ เดธเดฟเดจเดฟเดฎเดเตพ 50 เดเตเดเดฟ เดเตเดฒเดฌเตเดฌเดฟเตฝ เดเดเด เดชเดฟเดเดฟเดเตเดเต|All 50cr Club Movies in Malayalam๐
Friday, 15 May 2020
เดเดชเตเดชเดฎเตเดณเตเดณ เดชเตเดฐเตเดทเดจเตโ เดเดคเต เดจเดพเดฑเดฟเดฏเดพเดฃเตเดเตเดเดฟเดฒเตเด โเดธเดเดตเดฟเดงเดพเดฏเดเดจเตโโ เดชเดฑเดฏเตเดจเตเดจเดคเต เด เดจเตเดธเดฐเดฟเดเตเดเต เดฎเดคเดฟเดฏเดพเดเต: เดคเตเดฑเดจเตเดจเต เดชเดฑเดเตเดเตโ เดธเดฃเตเดฃเดฟ
เดเตเดฑเดเตเดเต เดเดพเดฒเด เดฎเตเตปเดชเตโ เดจเตเดฏเตเดฏเตเดฐเตโเดเตเดเดฟเดฒเตโ เดจเดเดจเตเดจ เดซเดพเดทเดจเตโ เดตเตเดเตเดเต เดชเดฐเดฟเดชเดพเดเดฟเดฏเดฟเดฒเตโ เด
เดฐเดเตเดเดฟเดฒเตเดเต เดจเดเดจเตเดจเตเดตเดจเตเดจ เดเดฐเต เด
เดชเตโเดธเดฐเดธเดฟเดจเต เดเดฃเตเดเต เดเดพเดฃเดฟเดเดณเตโ เดเดฐเดเตเดทเด เดฎเตเดดเดเตเดเดฟ. เด
เดคเต เดธเดฃเตเดฃเดฟ เดฒเดฟเดฏเตเดฃเดพเดฏเดฟเดฐเตเดจเตเดจเต.
เด เดธเตโเดฑเตเดฑเตเดเดฟเดฒเตโ เดเดคเตเดคเตเดจเตเดจ เดเดฆเตเดฏเดคเตเดคเต เดเดจเตเดคเตเดฏเดจเตโ เดจเดเดฟเดฏเตเด เดธเดฃเตเดฃเดฟเดฏเดพเดฏเดฟเดฐเตเดจเตเดจเต. เดเดตเดฐเตโ เดเตเดฑเตเดฑเดพเดจเดฟเดเต เดจเดพเดฏเดฟเดเดฏเดพเดฃเต เดเดจเตเดจเตเด เดเดพเดฃเดฟเดเดณเตโ เดถเดเตเดเดฟเดเตเดเต. เดธเดจเตเดคเตเดทเดคเตเดคเดพเดฒเตโ เดตเดฟเดเดฐเตโเดจเตเดจเดฟเดฐเตเดจเตเดจ เดธเดฃเตเดฃเดฟ เดธเตโเดฑเตเดฑเตเดเดฟเดฒเตโเดจเดฟเดจเตเดจเตเด เดตเดฟเดเดชเดฑเดเตเดเดชเตเดชเตเดณเตโ เดจเดฟเดฑเดเตเด เดฎเดฟเดดเดฟเดจเตเดฐเต เดคเตเดตเดพเดฒเดเตเดฃเตเดเต เดเดชเตเดชเดฟเดฏเตเดเตเดเตเดเตเดจเตเดจเดคเต เดเดพเดฃเดพเดฎเดพเดฏเดฟเดฐเตเดจเตเดจเต.
เด
เดญเดฟเดจเดฏเดฟเดเตเดเตเดจเตเดจ เดธเดฟเดจเดฟเดฎเดเดณเตโ เดฌเตเดเตเดธเตเดเดซเตเดธเดฟเดฒเตโ เดตเดฒเดฟเดฏ เดตเดฟเดเดฏเดเตเดเดณเตโ เดจเตเดเตเดจเตเดจเดฟเดฒเตเดฒเตเดเตเดเดฟเดฒเตเด เดฌเตเดณเดฟเดตเตเดกเดฟเดจเต เดชเตเดฑเดคเตเดคเต เดฎเตเดกเดฒเดฟเดเดเตเด เด
เดกเตเดตเดฐเตโเดเตเดเตเดธเดฟเดเดเตเดฎเตเดฒเตเดฒเดพเดฎเดพเดฏเดฟ เดตเดฒเดฟเดฏ เดตเดฟเดชเดฃเดฟเดฎเตเดฒเตเดฏเดฎเตเดณเตเดณ เดคเดพเดฐเดฎเดพเดฃเต เดธเดฃเตเดฃเดฟ เดฒเดฟเดฏเตเดฃเตโ. เดฌเตเดณเดฟเดตเตเดกเดฟเดฒเตโ เดเดคเตเดคเดฟเดฏ เดธเดฎเดฏเดคเตเดคเต เดฎเตเดเตเดฏเดงเดพเดฐเดฏเดฟเดฒเตโ เดคเดพเดจเตโ เดจเตเดฐเดฟเดเตเด เดเดฑเตเดฑเดชเตเดชเตเดเตเดคเตเดคเดฒเดฟเดจเตเดเตเดเตเดฑเดฟเดเตเดเตเด เด
เดตเดเดฃเดจเดฏเตเดเตเดเตเดฑเดฟเดเตเดเตเดฎเดพเดฃเต เดธเดฃเตเดฃเดฟ เดฒเดฟเดฏเตเดฃเตโ เดเดชเตเดชเตเดณเตโ เดฎเดจเดธเต เดคเตเดฑเดเตเดเตเดจเตเดจเดคเต.
เดเดฐเต เด
เดตเดพเดฐเตโเดกเต เดจเดฟเดถเดฏเดฟเดฒเตโ เดชเดเตเดเตเดเตเดเตเดเดตเต เดคเดจเดฟเดเตเดเตเดชเตเดชเด เดธเตโเดฑเตเดฑเตเดเต เดชเดเตเดเดฟเดเดพเดจเตโ เดฌเตเดณเดฟเดตเตเดกเต เดคเดพเดฐเดเตเดเดณเตโ เดคเดฏเตเดฏเดพเดฑเดพเดฏเดฟเดฒเตเดฒเตเดจเตเดจเต เดธเดฃเตเดฃเดฟ เดคเตเดฑเดจเตเดจเต เดชเดฑเดเตเดเต. เด
เดคเดฟเดจเดพเดฒเตโ เดเดฑเต เดจเตเดฐเด เดตเตเดฆเดฟเดเตเดเต เดธเดฎเตเดชเด เดเดฐเดฟเดฏเตเดเตเดเตเดฃเตเดเดฟเดตเดจเตเดจ เดคเดจเดฟเดเตเดเตเดชเตเดชเด เดเดฐเดพเดณเตโ เดฎเดพเดคเตเดฐเดฎเดพเดฃเต เด
เดตเดธเดพเดจเด เดธเตโเดฑเตเดฑเตเดเดฟเดฒเตเดเตเดเต เดตเดฐเดพเดจเตโ เดคเดฏเตเดฏเดพเดฑเดพเดฏเดคเตเดจเตเดจเตเด เดธเดฃเตเดฃเดฟ เดชเดฑเดเตเดเต.
เดธเดฟเดจเดฟเดฎเดพเดฎเตเดเดฒเดฏเดฟเดฒเตโ เดคเดจเดฟเดเตเดเต เดเดฐเตเดชเดพเดเต เดธเตเดนเตเดคเตเดคเตเดเตเดเดณเตโ เดเดฒเตเดฒเตเดจเตเดจเตเด เดเดจเตเดจเดพเดฒเตโ เด
เดเตเดชเตเดชเดฎเตเดณเตเดณ เดเดฟเดฒเดฐเตเดฃเตเดเตเดจเตเดจเตเด เดคเดพเดฐเด เดชเดฑเดเตเดเต. เดเดจเตเดจเตเดเตเดชเตเดชเด เดชเตเดฐเดตเดฐเตโเดคเตเดคเดฟเดเตเด เดเดฟเดฒเดฐเตโ เดจเดฒเตเดฒ เดธเตเดนเตเดคเตเดคเตเดเตเดเดณเดพเดฏเดฟเดเตเดเตเดฃเตเดเต. เด
เดคเตเดคเดฐเด เดชเดฐเดฟเดเดฏเดเตเดเดณเต เดธเตเดนเตเดฆเดคเตเดคเดฟเดฒเตเดเตเดเต เดจเดฏเดฟเดเตเดเดฟเดเตเดเตเดณเตเดณเต. เดชเดฐเดฟเดเดฏเดชเตเดชเตเดเดพเดจเตโ เดตเดฐเตเดจเตเดจ เด
เดจเตเดเด เดชเตเดฐเตโเดเตเดเต เดธเดฃเตเดฃเดฟ เดฒเดฟเดฏเตเดฃเตโ เดเดจเตเดจ เดฏเดฅเดพเดฐเตโเดฅ เดตเตเดฏเดเตเดคเดฟเดฏเต เด
เดฒเตเดฒ เด
เดฑเดฟเดฏเตเดฃเตเดเดคเตเดจเตเดจเตเด เดคเดพเดฐเด เดชเดฑเดเตเดเต.
เดเดจเตเดคเตเดฏเดจเตโ เดธเดฟเดจเดฟเดฎเดพเดฐเดเดเดคเตเดคเต เดเดจเตเดจเตเดตเดฐเต เดฆเดฐเตโเดถเดฟเดเตเดเดพเดจเดพเดตเดพเดคเตเดค เดเตเดฒเดพเดฎเดฐเตโ เดธเดฎเตเดฆเตเดฐเดฎเดพเดฃเต เดธเดฃเตเดฃเดฟเดฒเดฟเดฏเตเดฃเตโ. เดฎเดฑเตเดฑเตเดคเต เดจเดเดฟเดฎเดพเดฐเตเดเตเด เดชเดฑเดฏเดพเดคเตเดค, เดชเดฑเดฏเดพเดจเตโ เดชเดพเดเดฟเดฒเตเดฒเดพเดคเตเดค เดจเดฟเดฐเตโเดฆเตเดฆเตเดถเดเตเดเดณเตโ เดเดฐเต เดธเดเดตเดฟเดงเดพเดฏเดเดจเต เดธเดฃเตเดฃเดฟเดเตเดเต เดจเดฒเตโเดเดพเดจเตโ เดเดดเดฟเดฏเตเด. เด
เดเตเดเดจเต เดเดฐเดฟเดเตเดเดพเดจเตโ เดชเดฑเดเตเดเดพเดฒเตโ เดเดฟเดเดเตเดเตเดจเตเดจ เดเดฐเต เดธเตเดตเดญเดพเดตเด เด
เดตเดฐเตโเดเตเดเตเดฃเตเดเต. เดคเดจเตเดฑเต เดจเดเตเดจเดธเตเดจเตเดฆเดฐเตเดฏเด เดฎเดฑเตเดฑเตเดณเตเดณเดตเดฐเตเดเต เดฎเตเดจเตเดจเดฟเดฒเตโ เดชเตเดฐเดฆเดฐเตโเดถเดฟเดชเตเดชเดฟเดเตเดเตเดจเตเดจเดคเต เด
เดตเดฐเตโเดเตเดเตเดฐเต เดธเตเดเดฎเดพเดฃเต. เดธเดฃเตเดฃเดฟ เดฒเดฟเดฏเตเตบ เดคเดจเตเดฑเต เดเตเดตเดฟเดคเดคเตเดคเตเดเตเดเตเดฑเดฟเดเตเดเตโ เดชเดฑเดฏเตเดจเตเดจเดคเตโ เดเดเตเดเดจเต:
เดธเดฃเตเดฃเดฟเดฒเดฟเดฏเตเดฃเดฟเดจเต เดจเดฟเดเตเดเดณเตโเดเตเดเดฑเดฟเดฏเดพเด. เดฌเตเดณเดฟเดตเตเดกเตเดกเดฟเดฒเต เดคเดคเตเดธเดฎเดฏ เดเตเดฒเดพเดฎเดฐเตโ เดฑเดพเดฃเดฟ. เดเดชเตเดชเตเดดเตเด เดทเตเดเตเดเดฟเดเดเดฟเดฒเตโ เดฌเดฟเดธเตเดธเดฟเดฏเดพเดฏเดฟเดฐเดฟเดเตเดเตเดจเตเดจ เดเดฐเต เดจเดเดฟ. เดชเดเตเดทเต เดเดฐเดฃเตโ เดเดฟเดคเตเดคเดฟเดจเต เดเดฐเตโเดเตเดเตเด เด
เดคเตเดฐเดเดฃเตเดเต เด
เดฑเดฟเดฏเดฟเดฒเตเดฒ. เด
เดตเดณเตโ เดเดนเตโเดณเดพเดฆเดชเตเดฐเตโเดตเตเดตเด เดเดฐเตเดเตเดฑเตเดฑเตเดจเตเดจ เดเดฐเต เดชเตเดฃเตเดฃเดพเดฃเต. เดตเตเดเตเดเดฟเดฒเตโ เดจเดพเดฏเตเดเตเดเตเดเตเดเดฟเดฏเตเดเตเดชเตเดชเด เดธเดฒเตเดฒเดชเดฟเดเตเดเตเดเดดเดฟเดฏเตเดจเตเดจเต. เดเตเดเตเดเดฌเด เดเดจเตเดจเต เดชเดฑเดเตเดเดพเดฒเตโ เด
เดตเดณเตโเดเตเดเต เดเตเดตเดจเดพเดฃเต.
เดเดพเดจเตโ เดชเตเดฐเตโเดฃเตเดเตเดฐเดพเดซเดฟ เดชเดเดเตเดเดณเดฟเดฒเตโ เด
เดญเดฟเดจเดฏเดฟเดเตเดเตเดเดฏเตเด เดธเดเดตเดฟเดงเดพเดจเด เดเตเดฏเตเดฏเตเดเดฏเตเด เดเตเดฏเตเดค เดตเตเดฏเดเตเดคเดฟเดฏเดพเดฃเต. เด
เดคเดพเดฏเดฟเดฐเตเดจเตเดจเต เดชเดฒเดฏเดฟเดเดคเตเดคเต เดจเดฟเดจเตเดจเตเด เดชเดฟเดจเตเดคเดณเตเดณเดชเตเดชเตเดเดพเตป เดเดพเดฐเดฃเด. เดจเตเดฏเตเดฏเตเดฐเตโเดเตเดเต เดซเดพเดทเดจเตโ เดเตเดเดพเดคเต เดฎเดฑเตเดฑเตเดชเดฒ เดฐเดพเดเตเดฏเดเตเดเดณเดฟเดฒเต เดซเดพเดทเดจเตโ เดทเตเดเดณเดฟเดฒเตเด เดเดพเดจเตโ เดจเดฟเดฐเดพเดเดฐเดฟเดเตเดเดชเตเดชเตเดเตเดเดฏเตเดฃเตเดเดพเดฏเดฟ.
เดเดพเดฐเดฃเด เดเดจเตเดจเต เดเดฒเตเดฒเดพเดชเตเดฐเตเด เดเดฐเต เดจเตเดฒเดจเดเดฟเดฏเตเดจเตเดจ เดตเตเดเตเดทเดฃเดเตเดฃเดฟเดฒเตเดเตเดฏเดพเดฃเต เดเดฃเตเดเดฟเดฐเตเดจเตเดจเดคเต. เด
เดคเตเดธเดฎเดฏเด เดเดจเตเดฑเต เดฎเตเดกเดฒเดฟเดเต เดฎเดฑเตเดฑเตเด เด
เดญเดฟเดจเดฏเดฎเดฟเดเดตเดฟเดจเต เดเดฐเตเด เด
เดเดเตเดเดฐเดฟเดเตเดเดฟเดฒเตเดฒ.
เดชเดฒเดคเดตเดฃ เดชเดฒเดฐเตเด เดฎเตเดฒเด เดเดพเดจเตโ เดเดคเดฟเดเตเดเดชเตเดชเตเดเตเดเต. เด
เดตเดฐเดฟเดฒเตโ เดชเดฒเดฐเตเด เดเดจเตเดฑเต เดถเดฐเตเดฐเด เดเดตเตเดณเด เด
เดจเตเดญเดตเดฟเดเตเดเดตเดฐเดพเดฃเต. เดเดเตเดเดจเตเดฏเตเดณเตเดณ เดเดชเดเตเดตเดจเดคเตเดคเดฟเดจเต เดชเดฑเตเดฑเดฟเดฏเดคเต เดจเตเดฒเดชเตเดชเดเดเตเดเดณเดพเดฃเตเดจเตเดจเต เดเดเตเดตเดฟเดฒเตโ เดเดพเดจเตโ เดฎเดจเดธเตเดธเดฟเดฒเดพเดเตเดเดฟ. เดฎเดจเดธเตเดธเตเด เดนเตเดฆเดฏเดตเตเด เดเดฒเตเดฒเดพเดเตเดเดฟเดเตเดเตเดฃเตเดเดพเดฃเต เดเดพเดจเตโ เด เดชเตเดฐเตเดพเดเดเตเดเดฟเดฒเตเดเตเดเต เดคเดฟเดฐเดฟเดเตเดเดคเต.
เดเดฐเต เด
เดนเดเตเดเดพเดฐเดฟเดฏเดพเดฏเดฟ เด
เดญเดฟเดจเดฏเดฟเดเตเดเตเดจเตเดจเต เดเดจเตเดจเต เดชเดฑเดฏเตเดจเตเดจเดคเดพเดตเตเด เดเดเดฟเดคเด. โเด
เดคเตโ เดชเตเดฒเตเดณเตเดณ เดตเตเดกเดฟเดฏเต เดชเดเดเตเดเดณเดฟเดฒเตโ เดเดพเดจเตโ เด
เดญเดฟเดจเดฏเดฟเดเตเดเตเดเตเดฃเตเดเดฟเดฐเตเดจเตเดจเดชเตเดชเตเดณเตโ เดเดจเตเดจเตเดเต เดเดจเตเดจเตเดเดพเดฒเดฟเดเดณเตเดเตเดเดพเดณเตโ เดนเตเดจเดฎเดพเดฏ เดฐเตเดคเดฟเดฏเดฟเดฒเดพเดฏเดฟเดฐเตเดจเตเดจเต เด
เดตเดฐเตโ เดชเตเดฐเตเดฎเดพเดฑเดฟเดฏเดฟเดฐเตเดจเตเดจเดคเต.
โเด
เดเตเดเตเดเตเดเต เดฎเดพเดฑเดฟ เดจเดฟเดฒเตโเดเตเดเตเดเต, เดเดเตเดเตเดเตเดเต เดชเตเดเต..โ เดเดจเตเดจเตเดเตเดเตเดฏเดพเดฏเดฟเดฐเตเดจเตเดจเต เด
เดตเดฐเตโ เดเดจเตเดจเต เดธเดเดฌเตเดงเดจ เดเตเดฏเตเดคเดฟเดฐเตเดจเตเดจเดคเต. เดทเตเดเตเดเดฟเดเดเดฟเดฒเตโ เดชเดเตเดเตเดเตเดเตเดเตเดจเตเดจ เดธเดพเดงเดพเดฐเดฃ เดเตเดเตโเดจเตเดทเตเดฏเดจเตเดฎเดพเดฐเตโ เดชเตเดฒเตเด เดเดจเตเดจเตเดเต เดจเตเดเดฎเดพเดฏ เดฐเตเดคเดฟเดฏเดฟเดฒเดพเดฏเดฟเดฐเตเดจเตเดจเต เดชเตเดฐเตเดฎเดพเดฑเดฟเดฏเดฟเดเตเดเตเดณเตเดณเดคเต.
เดจเตเดฒเตโเดฌเดจเตเดงเดฎเดฟเดฒเตเดฒเดพเดคเตเดค เด เดตเดธเตเดฅเดฏเดฟเดฒเตโ เดเดพเดจเตโ เดเดดเดฟเดฏเตเดฎเตเดชเตเดณเตโ เดฎเดฟเดเตเดเดชเตเดชเตเดดเตเด เดเดคเตเดฎเดนเดคเตเดฏ เดเตเดฏเตเดคเดพเดฒเตโ เดเดจเตเดคเดพเดฃเตเดจเตเดจเต เดเดฟเดจเตเดคเดฟเดเตเดเตเดชเตเดเตเดฎเดพเดฏเดฟเดฐเตเดจเตเดจเต. เดเดชเตเดชเดฎเตเดณเตเดณ เดชเตเดฐเตเดทเดจเตโ เดเดคเต เดจเดพเดฑเดฟเดฏเดพเดฃเตเดเตเดเดฟเดฒเตเด โเดธเดเดตเดฟเดงเดพเดฏเดเดจเตโโ เดชเดฑเดฏเตเดจเตเดจเดคเต เด เดจเตเดธเดฐเดฟเดเตเดเต เดฎเดคเดฟเดฏเดพเดเต.
เดเดเตเดตเดฟเดฒเตโ เดเดคเตเดฎเดนเดคเตเดฏเดฏเตเดเตเดเตเดฑเดฟเดเตเดเตเดณเตเดณ เดตเดฟเดเดพเดฐเด เดเดชเตเดเตเดทเดฟเดเตเดเต. เดคเตเดเดเตเดเดคเตเดคเดฟเดฒเตโ เดเดจเตเดฑเต เด
เดงเตเดตเดพเดจเดคเตเดคเดฟเดจเต เดคเดเตเดเดคเดพเดฏ เดชเตเดฐเดคเดฟเดซเดฒเด เดฒเดญเดฟเดเตเดเดฟเดฐเตเดจเตเดจเดฟเดฒเตเดฒ. เดเดฐเตเดชเดพเดเต เดชเตเดฐเตโ เดเดเตเดเดจเต เดชเดฃเด เดคเดฐเดพเดคเต เดเดจเตเดจเต เดชเตเดฐเดฏเตเดเดจเดชเตเดชเตเดเตเดคเตเดคเดฟเดฏเดฟเดเตเดเตเดฃเตเดเต. เด
เดคเดฟเดฒเตเดเต เดเตเดเดพเดจเตเดเตเดเดฟเดเดณเตโ เดเดฐเตเดฐเตเดคเตเดคเดฐเตเด เดธเดฎเตเดชเดพเดฆเดฟเดเตเดเดฟเดเตเดเตเดฃเตเดเต.
เดคเตเดเดฐเตโเดเตเดเดฏเดพเดฏเดฟ เดเดพเดจเตโ เดตเดเตเดเดฟเดเตเดเดชเตเดชเตเดเตเดเดพเดฒเตเด โเดเดฎเตเดฎเดพเดคเดฟเดฐเดฟโ เดชเดเดเตเดเดณเดฟเดฒเตโ เดธเตเดฑเตเดฑเดพเดฑเดพเดฏเดฟ เดจเดฟเดฒเดจเดฟเดฒเตโเดเตเดเดพเดจเตโ เดเดพเดจเตโ เดเดเตเดตเดฟเดฒเตโ เดคเตเดฐเตเดฎเดพเดจเดฟเดเตเดเต. เดฆเตเดตเด เดเดจเดฟเดเตเดเต เดตเดพเดฐเดฟเดเตเดเตเดฐเดฟ เดจเดฒเตโเดเดฟเดฏ เดถเดฐเตเดฐเดตเตเด เดธเตเดจเตเดฆเดฐเตเดฏเดตเตเด เดตเตเดฃเตเดเดตเดฃเตเดฃเด เดชเตเดฐเดฏเตเดเดจเดชเตเดชเตเดเตเดคเตเดคเดพเดจเตเด, เดคเตเดเดฐเตโเดจเตเดจเต เด เดฒเตเดเดคเตเดคเตเดเต เดคเดจเตเดจเต เดชเตเดฐเดคเดฟเดเดพเดฐเด เดเตเดฏเตเดฏเดฃเดฎเตเดจเตเดจ เดตเตเดฐเดพเดเตเดฏเดฌเตเดฆเตเดงเดฟ เดเดจเตเดจเดฟเดฒเตโ เดเดฆเดฏเด เดเตเดฏเตเดคเต.
เดเดคเต เดเดพเดจเตโ เด
เดจเตเดญเดตเดฟเดเตเด เดคเตเดฏเดพเดเดเตเดเดณเตโเดเตเดเต เดตเตเดฃเตเดเดฟเดฏเตเดณเตเดณ เดชเตเดฏเต เดตเตเดทเดฎเดพเดฃเต. เดเดพเดจเตโ เดเดจเดฟเดเตเดเตเดคเดจเตเดจเต เดงเดฐเดฟเดชเตเดชเดฟเดเตเด เดฎเตเดเดเดฎเตเดเดฟ. เดธเดคเตเดฏเด เดชเดฑเดฏเดเตเดเต. เดเดพเดจเตโ เดชเตเดเตเดเดณเตเดเตเดเดพเดณเตโ เดฎเตเดฆเตเดฒเดฏเดพเดฃเต. เดเตเดเตเดเต เดฎเดจเดธเตเดธเดพเดฃเต. เดเดจเตเดจเต เด
เดเตเดคเตเดคเดฑเดฟเดฏเดพเดตเตเดจเตเดจ เดเดฒเตเดฒเดพเดชเตเดฐเตโเดเตเดเตเด เด เดตเดธเตเดคเตเดค เด
เดฑเดฟเดฏเดพเด.
เด
เดฆเตเดฆเตเดนเดตเตเด เดเดจเตเดจเตเดเตเดชเตเดชเด เดจเตเดฒเดชเตเดชเดเดเตเดเดณเดฟเดฒเตโ เด
เดญเดฟเดจเดฏเดฟเดเตเดเตเดเตเดฃเตเดเดฟเดฐเตเดจเตเดจ เดตเตเดฏเดเตเดคเดฟเดฏเดพเดฃเต. เดเดจเตเดฑเต เดถเดฐเตเดฐเดธเตเดจเตเดฆเดฐเตเดฏเด เดเดฃเตเดเต เดญเตเดฐเดฎเดฟเดเตเดเดคเดพเดฃเต, เดเดจเตเดจเตเดเตเดชเตเดชเด เดทเตเดเตเดเดฟเดเดเต เดธเดฎเดฏเดคเตเดคเต เดถเดพเดฐเตเดฐเดฟเดเดฌเดจเตเดงเด เดชเตเดฒเดฐเตโเดคเตเดคเดฟเดฏ เดเดฐเต เดจเดฒเตเดฒ เด
เดจเตเดญเดตเดฎเดพเดฃเต เดเดจเตเดจเตเด เด
เดฑเดฟเดฏเดฟเดฒเตเดฒ.
เดเดฐเตเดฆเดฟเดตเดธเด เดเดฐเต เดฌเดเดเตเดฒเดพเดตเดฟเดจเตเดณเตเดณเดฟเดฒเตโเดตเดเตเดเต เดจเตเดฒเดชเตเดชเดเดคเตเดคเดฟเดจเตเดฑเต เดทเตเดเตเดเดฟเดเดเต เดคเตเดเดเตเดเตเดจเตเดจเดคเดฟเดจเตเดฑเต เดเดเดตเตเดณเดฏเดฟเดฒเตโ เด
เดฆเตเดฆเตเดนเด เดเดจเตเดจเตเดเต เดตเดฟเดเดพเดฐเดญเดฐเดฟเดคเดจเดพเดฏเดฟ เดชเดฑเดเตเดเต.
โเด เดฒเดตเต เดฏเต!โ เดเดพเดจเตโ เดเดฐเตเดจเดฟเดฎเดฟเดทเด เดฎเดฐเดตเดฟเดเตเดเต เดจเดฟเดจเตเดจเตเดชเตเดฏเดฟ. เดเดเดจเต เดฎเดฑเตเดชเดเดฟ เดเตเดเตเดเตเดเดพเดจเตโ เดเดดเดฟเดเตเดเดฟเดฒเตเดฒ. เดเดพเดฐเดฃเด เดชเดฟเดฑเดจเตเดจ เดฎเตเดจเดฟเดฏเตเดเต เดเดเตเดเดณเดฟเดฐเตเดตเดฐเตเด เดเตเดฏเดพเดฎเดฑเดฏเตเดเตเดเต เดฎเตเดจเตเดจเดฟเดฒเตโ เดเดฟเดเดจเตเดจเต เด
เดญเดฟเดจเดฏเดฟเดเตเดเดตเดฐเดพเดฃเต.
เดเดฑเตเดฎเดพเดธเดเตเดเดพเดฒเดฎเดพเดฏเดฟ เดเดเตเดเดณเตโ เดชเดฒเดฏเดฟเดเดเตเดเดณเดฟเดฒเตเด เดเตเดฑเตเดฑเดฟเดฏเดเดฟเดเตเดเต เดฒเตเดเดเดฟเดเดฌเดจเตเดงเดคเตเดคเดฟเดฒเตโ เดเดฐเตโเดชเตเดชเตเดเตเดเดตเดฐเดพเดฃเต. เด
เดคเตเดเตเดฃเตเดเต เดชเตเดเดจเตเดจเดจเตเดฏเตเดณเตเดณ เด
เดฆเตเดฆเตเดนเดคเตเดคเดฟเดจเตเดฑเต เดชเตเดฐเดฃเดฏเด เดธเตเดตเตเดเดฐเดฟเดเตเดเดพเดจเตโ เดเดจเดฟเดเตเดเต เดเดฒเตเดเดฟเดเตเดเตเดฃเตเดเดคเดพเดฏเดฟ เดตเดจเตเดจเต.
เดเดเตเดตเดฟเดฒเตโ เดเดจเตเดจเตเดเต เดคเตเดจเตเดจเตเดจเตเดจเดคเต เดเดจเตเดคเตเดคเดฐเด เดธเตโเดจเตเดนเดฎเดพเดฃเตเดจเตเดจเต เดเตเดฆเดฟเดเตเดเดชเตเดชเตเดณเตโ เดเดจเตเดจเต เด
เดฆเตเดฆเตเดนเด เดตเดฟเดตเดพเดนเด เดเตเดฏเตเดฏเดพเดจเตโ เดคเตเดฐเตเดฎเดพเดจเดฟเดเตเดเดคเดพเดฏเดฟ เดชเดฑเดเตเดเต. เดเดเตเดตเดฟเดฒเตโ เดเดพเดจเตโ เดธเดฎเตเดฎเดคเดฟเดเตเดเต. เด
เดเตเดเดจเต เดเดฆเตเดฏเดฐเดพเดคเตเดฐเดฟ เดเดเตเดเดณเตโ โเดฎเดงเตเดตเดฟเดงเตโ เดเดเตเดทเดฟเดเตเดเต. เดชเดเตเดทเต เดเตเดฏเดพเดฎเดฑเดฏเตเดเตเดเต เดฎเตเดฎเตเดชเดฟเดฒเดพเดฏเดฟเดฐเตเดจเตเดจเดฟเดฒเตเดฒ.
เดฎเดจเดธเตเดธเต เดจเดฟเดฑเดฏเต เดธเดจเตเดคเตเดทเดตเตเดฎเดพเดฏเดฟ เดเดดเดฟเดฏเตเดจเตเดจ เดฎเดจเตเดทเตเดฏเดจเดพเดฃเต เดเดจเตเดฑเต เดญเตผเดคเตเดคเดพเดตเตโ เดกเดพเดจเดฟเดฏเตฝ. เดเดจเดฟเดเตเดเต เด
เดฆเตเดฆเตเดนเด เดเดฐเต เดเดณเดฟเดชเตเดชเดพเดต เดชเตเดฒเตเดฏเดพเดฃเต. เดเดชเตเดชเตเดดเตเด เด
เดฆเตเดฆเตเดนเดคเตเดคเต เดเดพเดจเตเด เด
เดฆเตเดฆเตเดนเด เดเดจเตเดจเตเดฏเตเด เดเดฎเดจเดฟเดเตเดเตเดเตเดฃเตเดเดฟเดฐเดฟเดเตเดเตเด.
เดเดจเตเดจเตเดเต เด
เดฆเตเดฆเตเดนเดคเตเดคเดฟเดจเต เด
เดฃเตโเดฒเดฟเดฎเดฟเดฑเตเดฑเดกเต เดธเตโเดจเตเดนเดฎเดพเดฃเต. เดเดจเตเดจเตเดเตเดชเตเดชเด เด
เดฆเตเดฆเตเดนเด เดชเตเดฑเดคเตเดคเตเดตเดฐเตเดฎเตเดชเตเดณเตโ เดชเตเดฃเตเดฃเตเดเตเดเดณเตโ เด
เดฆเตเดฆเตเดนเดคเตเดคเต เดเดฐเตโเดคเตเดคเดฟเดฏเตเดเต เดจเตเดเตเดเตเดจเตเดจเดคเต เดเดฃเตเดเต เดเดจเดฟเดเตเดเต เด
เดธเตเดฏ เดคเตเดจเตเดจเดพเดฑเตเดฃเตเดเต.
เดเดจเตเดฑเต เดฎเตเดเดฒ เดฏเดฅเดพเดฐเตโเดคเตเดฅเดคเตเดคเดฟเดฒเตโ เดธเดฟเดจเดฟเดฎ เด
เดฒเตเดฒ. เดเดพเดธเต เดฎเตเดกเดฟเดเตโเดธเต เดฎเตเดกเดฟเดเตเดเดฒเดพเดฃเต. เด
เดเตเดเดจเต เดเดฐเต เดเดฎเตเดชเดจเดฟ เดคเตเดเดเตเดเดพเดจเดพเดฃเต เดฒเดเตเดทเตเดฏเด. เด
เดคเดฟเดจเต เดตเตเดฃเตเดเดคเดพเดฏ เดฎเตเดจเตเดจเตเดฐเตเดเตเดเดเตเดเดณเตโ เดจเดเดจเตเดจเตเดเตเดฃเตเดเดฟเดฐเดฟเดเตเดเตเดจเตเดจเต. เดญเดพเดตเดฟเดฏเดฟเดฒเตโ เดเดพเดจเตโ เดธเดฟเดจเดฟเดฎเดฏเดฟเดฒเตโเดจเดฟเดจเตเดจเตเด เดตเดฟเดเตเดเตเดจเดฟเดฒเตโเดเตเดเตเดฃเตเดเตเดจเตเดจ เดเดฐเดตเดธเตเดฅ เดเดฃเตเดเดพเดฏเดพเดฒเตโ เดเดฐเต เดคเตเดดเดฟเดฒเดงเดฟเดชเดฏเดพเดฏเดฟ เดฒเตเดเด เดฎเตเดคเตเดคเด เดชเดฑเดจเตเดจเต เดธเดเตเดเดฐเดฟเดเตเดเดพเดฎเดฒเตเดฒเต.
เดเดเดชเตเดชเดพเดเตโ: เดฎเดเดเดณเด เดเตบเดฒเตเตป เดชเตเดฐเดธเดฟเดฆเตเดงเตเดเดฐเดฟเดเตเด เดตเดฟเดตเดฟเดง เด
เดญเดฟเดฎเตเดเดเตเดเดณเดฟเตฝ เดจเดฟเดจเตเดจเต
Thursday, 14 May 2020
เดชเตเดเตเดเดเดณเต เดเดฎเตเดฎเดตเตเดเตเดเดฐเตเดคเต! เดเตเดตเดฟเดกเต เดชเดเดฐเดพเดจเตโ เดธเดพเดงเตเดฏเดคเดฏเตเดจเตเดจเต เดเดตเตเดทเดเดฐเตโ
เดตเดฟเดธเตโเดเตเดจเตโเดธเดฟเดจเตโ เดธเตโเดเตเดณเตโ เดเดซเต เดตเตเดฑเตเดฑเดฑเดฟเดจเดฑเดฟ เดฎเตเดกเดฟเดธเดฟเดจเตเดฑเต เดธเดนเดพเดฏเดคเตเดคเตเดเต เดจเดเดคเตเดคเดฟเดฏ เดชเดฐเตเดเตเดทเดฃเดซเดฒเด เดจเตเดฏเต เดเดเดเตเดฒเดฃเตเดเต เดเตเดฃเดฒเตโ เดเดซเต เดฎเตเดกเดฟเดธเดฟเดจเดฟเดฒเดพเดฃเต เดฑเดฟเดชเตเดชเตเดฐเตโเดเตเดเต เดชเตเดฐเดธเดฟเดฆเตเดงเตเดเดฐเดฟเดเตเดเดคเต. เดเดฐเต เดเตเดตเดฟเดกเต เดฐเตเดเดฟเดฏเตเดฏเตเด เดฎเดจเตเดทเตเดฏเดฐเดฟเดฒเตโ เดจเดฟเดจเตเดจเต เดฐเตเดเด เดชเดเดฐเตโเดจเตเดจ เดฎเตเดจเตเดจเต เดชเตเดเตเดเดเดณเตเดฏเตเดฎเดพเดฃเต เดชเดฐเตเดเตเดทเดฃ เดตเดฟเดงเตเดฏเดฎเดพเดเตเดเดฟเดฏเดคเต. เด
เดตเดเตเดเตเดชเตเดชเด เดฎเตเดจเตเดจเตเดชเตเดเตเดเดเดณเตเดฏเตเด เดเดดเดฟเดฏเดพเดจเตโ เด
เดจเตเดตเดฆเดฟเดเตเดเต. เดเตเดฑเดเตเดเต เดฆเดฟเดตเดธเด เดเดดเดฟเดเตเดเดชเตเดชเตเดณเตโ เดฎเตเดจเตเดจเตเดชเตเดเตเดเดเดณเดฟเดฒเตเดเตเดเตเด เดตเตเดฑเดธเต เดชเดเดฐเตโเดจเตเดจเดคเดพเดฏเดฟ เดเดฃเตเดเตเดคเตเดคเดฟ. เดเดจเตเดจเดพเดฒเตโ เดฎเตเดจเตเดจเตเดชเตเดเตเดเดเดณเดฟเดฒเตเด เดฐเตเดเดฒเดเตเดทเดฃเดเตเดเดณเตโ เดชเตเดฐเดเดเดฎเดพเดฏเดฟเดฒเตเดฒ.
เดตเดณเดฐเตโเดคเตเดคเตเดฎเตเดเดเตเดเดณเดฟเดฒเตโ เดจเดฟเดจเตเดจเดพเดฃเต เดชเดฒเดฐเตโเดเตเดเตเด เดชเดเดฐเตโเดเตเดเดตเตเดฏเดพเดงเดฟเดเดณเตโ เดเดฃเตเดเดพเดเตเดจเตเดจเดคเต. เด เดคเตเดเตเดฃเตเดเต เดคเดจเตเดจเต เดชเตเดเตเดเดเดณเตเดชเตเดชเตเดฒเตเดฏเตเดณเตเดณ เดตเดณเดฐเตโเดคเตเดคเต เดฎเตเดเดเตเดเดณเดฟเดฒเตโ เดจเดฟเดจเตเดจเต เดถเตเดฐเดฆเตเดงเดพเดชเตเดฐเตโเดตเตเดตเด เด เดเดฒเด เดชเดพเดฒเดฟเดเตเดเตเดเดฏเดพเดเตเด เดจเดฒเตเดฒเดคเตเดจเตเดจเตเด เดฎเตเดจเตเดจเดฑเดฟเดฏเดฟเดชเตเดชเต เดจเดฒเตโเดเตเดจเตเดจเต.
เดฎเดฑเตเดฑเตเดณเตเดณเดตเดฐเต เดชเดฑเตเดฑเดฟเดเตเดเตโ เดเดฏเดพเดณเตโเดเตเดเต เดเดจเตเดคเดพเดฃเต เดจเตเดเดพเดจเตโ เดเดณเตเดณเดคเตเดจเตเดจเต เด เดฑเดฟเดฏเดฟเดฒเตเดฒ !! เดฐเตเดเตเดท เดตเดฟเดฎเตผเดถเดจเดตเตเดฎเดพเดฏเดฟ เดจเดเดฟ เดฎเตเดฐ เดจเดจเตเดฆเตป
เดฎเตเดฒเตเดฒ เดเดจเตเดจ เดธเดฟเดจเดฟเดฎเดฏเดฟเดฒเตเดเต เดฎเดฒเดฏเดพเดณเดฟเดเตพเดเตเดเต เดเดฑเต เดชเตเดฐเดฟเดฏเดเตเดเดฐเดฟเดฏเดพเดฏ เดเดณเดพเดฃเต เดฎเตเดฐ เดจเดจเตเดฆเตป, เดฎเดฟเดเดเตเดเตเดฐเต เดจเดเดฟ เดเดจเตเดจเดคเดฟเดฒเตเดชเดฐเดฟ เดคเดพเดฐเด เดฎเดฟเดเดเตเดเตเดฐเต เดเดพเดฏเดฟเด เดเตเดเดฟเดฏเดพเดฃเต, เดเดกเดฟเดฏ เดธเตเดฑเตเดฑเดพเตผ เดธเดฟเดเตเดเตผ เดเดจเตเดจ เดชเดฐเดฟเดชเดพเดเดฟเดฏเดฟเตฝ เดเตเดเดฟเดฏเดพเดฃเต เดฎเตเดฐ เด
เดญเดฟเดจเดฏ เดฐเดเดเดคเตเดคเตเดเตเดเต เดตเดฐเตเดจเตเดจเดคเต, เดเดฆเตเดฏ เดเดฟเดคเตเดฐเด เดฆเดฟเดฒเตเดชเต เดจเดพเดฏเดเดจเดพเดฏ เดฎเตเดฒเตเดฒ เดตเดณเดฐเต เดตเดฟเดเดฏเดฟเดเตเด เดเดฟเดคเตเดฐเดฎเดพเดฏเดฟเดฐเตเดจเตเดจเต เดชเดฟเดจเตเดจเตเด เด
เดเตเดเตเดเตเดเต เดจเดฟเดฐเดตเดงเดฟ เดเดฟเดคเตเดฐเดเตเดเตพ เดคเดพเดฐเด เด
เดญเดฟเดจเดฏเดฟเดเตเดเดฟเดฐเตเดจเตเดจเต เดเดชเตเดชเตเตพ เดฆเตเดฌเดพเดฏเดฟเดฏเดฟเตฝ เดเตผ เดเต เดเดฏเดฟ เดเตเดฒเดฟ เดเตเดฏเตเดฏเตเดเดฏเดพเดฃเต.
เดธเดฟเดจเดฟเดฎเดฏเดฟเตฝ เดจเดฟเดจเตเดจเตเด เดตเดฟเดเตเดเต เดจเดฟเตฝเดเตเดเตเดเดฏเดพเดฃเตเดเตเดเดฟเดฒเตเด เดธเตเดทเตเดฏเตฝ เดฎเตเดกเดฟเดฏเดฏเดฟเตฝ เดธเดเตเดต เดธเดพเดจเตเดจเดฟเดงเตเดฏเดฎเดพเดฃเต เดคเดพเดฐเด, เดจเดฟเดฐเดตเดงเดฟ เดซเตเดเตเดเต เดทเตเดเตเดเตเดเดณเตเด เดคเดพเดฐเด เดจเดเดคเตเดคเดพเดฑเตเดฃเตเดเต, เดเดชเตเดชเตเตพ เดฒเตเดเตเดเต เดกเตเตบ เดญเดพเดเดฎเดพเดฏเดฟ เดธเตเดฌเตผ เดเดเตเดฐเดฎเดฃเดเตเดเตพ เดเดฐเตเดชเดพเดเต เดเตเดเตเดคเดฒเดพเดฃเต, เดเดชเตเดชเตเตพ เดคเดจเตเดฑเต เดชเตเดฐเดฟเดฒเตเดณเตเดณ เดตเตเดฏเดพเด เดชเตเดเดฟเดจเต เดเตเดฑเดฟเดเตเดเต เดฒเตเดตเดฟเตฝ เดตเดจเตเดจเต เดคเตเดฑเดจเตเดจเต เดชเดฑเดเตเดเดฟเดฐเดฟเดเตเดเตเดเดฏเดพเดฃเต เดคเดพเดฐเด..
เดตเดฟเดชเดฟเดจเตโ เดเดจเตเดจเดพเดฃเต เดเดฏเดพเดณเตเดเต เดชเตเดฐเต. เดซเตเดเตเดเตเดเตเดฐเดพเดซเดฑเดพเดฃเตเดจเตเดจเดพเดฃเต เด เดฑเดฟเดเตเดเดคเต. เดฎเตเดฐเดฏเตเดเตเดเต เดฎเตเดธเตเดเต เด เดฏเดเตเดเดพเดฑเตเดฃเตเดเต, เดซเตเดเตเดเต เดเดเตเดเตเดเตเดฎเต เดเดจเตเดจเต เดเตเดฆเดฟเดเตเดเดพเดฑเตเดฃเตเดเตเดจเตเดจเตเดฎเตเดเตเดเต เดเดฏเดพเดณเตโ เดฎเดฑเตเดฑเตเดณเตเดณเดตเดฐเตเดเต เดชเดฑเดเตเดเต เดจเดเดเตเดเตเดจเตเดจเดคเดพเดฏเดฟ เดเดจเตเดฑเต เดเดฐเต เดธเตเดนเตเดคเตเดคเต เดตเดฟเดณเดฟเดเตเดเดพเดฃเต เดเดจเตเดจเตเดเต เดชเดฑเดฏเตเดจเตเดจเดคเต. เดเดฏเดพเดณเต เด เดฑเดฟเดฏเตเดฎเต เดเดจเตเดจเต เดเตเดฆเดฟเดเตเดเต. เดตเดฟเดชเดฟเดจเตโ เดเดจเตเดจ เดชเตเดฐเดฟเดฒเตโ เดเดฐเต เดซเตเดเตเดเตเดเตเดฐเดพเดซเดฑเต เดเดจเดฟเดเตเดเต เด เดฑเดฟเดฏเดฟเดฒเตเดฒ.
เดฎเตเดฐเดฏเตเดเตเดเต เดเดจเตเดฑเต เดชเตเดฑเดเต เดจเดเดเตเดเตเดเดฏเดพเดฃเต, เดเดจเตเดฑเต เดซเตเดเตเดเตเดทเตเดเตเดเดฟเดจเต เดตเตเดฃเตเดเดฟเดฏเตเดจเตเดจเดพเดฃเต เดฎเดฑเตเดฑเตเดณเตเดณเดตเดฐเตเดเต เดชเดฑเดฏเตเดจเตเดจเดคเต. เดชเดฒเดฏเดพเดณเตเดเดณเตโเดเตเดเตเด เดฎเตเดธเตเดเดฟเดจเตเดฑเต เดธเตโเดเตเดฐเตเดจเตโเดทเตเดเตเดเต เดเดเตเดคเตเดคเต เด
เดฏเดเตเดเดพเดฑเตเดฃเตเดเต เดเดฏเดพเดณเตโ. เดชเดเตเดทเต เดธเตโเดเตเดฐเตเดจเตโ เดทเตเดเตเดเดฟเดฒเตโ เดเดพเดฃเตเดจเตเดจ เดฎเตเดฐ เดจเดจเตเดฆเดจเตโ เดเดจเตเดจเตเต เดชเดฑเดฏเตเดจเตเดจ เดชเตเดเดฟเดฒเตโ เดฌเตเดฒเตเดฏเต เดเดฟเดเตเดเต เดเดฒเตเดฒ. เด
เดคเต เดเตเดฃเตเดเต เดคเดจเตเดจเต เดเดคเต เดตเตเดฏเดพเด เดชเตเดฐเตเดซเตเดฒเตโ เดเดฃเตเดจเตเดจเดคเต เดตเตเดฏเดเตเดคเดฎเดพเดฃเต.
เดเดพเดจเตโ เดซเตเดธเตเดฌเตเดเตเดเดฟเดฒเตโ เดคเตเดฐเต เดเดเตเดเตเดตเต เด
เดฒเตเดฒ. เดฎเตเดธเตเดกเต เดเดพเดฐเตเดฏเดเตเดเดณเต เดจเตเดเตเดเดพเดฑเตเดฎเดฟเดฒเตเดฒ. เดซเตเดเตเดเต เดชเตเดฐเตเดซเตเดฒเตโ เดเดเตเดเต เดเดฃเตเดเดพเดเตเดเดพเดจเตโ เดตเดฟเดฐเตเดคเดจเดพเดฃเต เดเดฏเดพเดณเตโ เดเดจเตเดจเดพเดฃเต เด
เดฑเดฟเดฏเดพเดจเตโ เดเดดเดฟเดเตเดเดคเต. เดชเดพเดฒเดเตเดเดพเดเต เดธเตเดตเดฆเตเดถเดฟเดฏเดพเดฏ เดเดฏเดพเดณเตโ เดฆเตเดฌเดพเดฏเดฟเดฒเดพเดฃเตเดณเตเดณเดคเตเดจเตเดจเต เดชเดฑเดฏเตเดจเตเดจเต. เดฎเดฑเตเดฑเตเดณเตเดณเดตเดฐเต เดชเดฑเตเดฑเดฟเดเตเดเตโ เดเดฏเดพเดณเตโเดเตเดเต เดเดจเตเดคเดพเดฃเต เดจเตเดเดพเดจเตโ เดเดณเตเดณเดคเตเดจเตเดจเต เด
เดฑเดฟเดฏเดฟเดฒเตเดฒ.
เดเดพเดจเตโ เดเดจเตเดฑเต เดธเตเดนเตเดคเตเดคเตเดเดณเตโเดเตเดเตเดชเตเดชเด เดฎเดพเดคเตเดฐเดฎเดพเดฃเต เดซเตเดเตเดเตเดทเตเดเตเดเต เดจเดเดเตเดเดพเดฑเตเดณเตเดณเดคเต. เด เดคเต เดชเดฑเดเตเดเต เดเดฐเตเดเตเดฏเตเด เดชเตเดฑเต เดจเดเดเตเดเดพเดฑเตเดฎเดฟเดฒเตเดฒเตเดจเตเดจเตเด เดฎเตเดฐ เดจเดจเตเดฆเดจเตโ เดชเดฑเดฏเตเดจเตเดจเต. เดเดฏเดพเดณเตโเดเตเดเตเดคเดฟเดฐเต เดจเดฟเดฏเดฎเดจเดเดชเดเดฟ เดธเตเดตเตเดเดฐเดฟเดเตเดเดพเดจเตโ เดเดฐเตเดเตเดเตเดเดฏเดพเดฃเต เดคเดพเดจเตโ. เดฎเดพเดคเตเดฐเดฎเดฒเตเดฒ เด เดฏเดพเดณเตเดเต เดชเตเดเต เดฑเดฟเดชเตเดชเตเดฐเตโเดเตเดเต เดเตเดฏเตเดฏเดพเดจเตโ เดเดฒเตเดฒเดพเดตเดฐเตเดเตเดฏเตเด เดธเดนเดพเดฏเด เดตเตเดฃเดฎเตเดจเตเดจเตเด เดจเดเดฟ เดเดตเดถเตเดฏเดชเตเดชเตเดเตเดจเตเดจเต.
เดเดฆเตเดฏเด เดชเต-เตบ เดตเตเดกเดฟเดฏเต เดเดฃเตเดเดชเตเดชเตเตพ เด เดฑเดชเตเดชเต เดคเตเดจเตเดจเดฟ, เดชเดฟเดจเตเดจเตเดเดคเต เดเดธเตเดตเดฆเดฟเดเตเดเดชเตเดชเตเตพ: เดธเดฃเตเดฃเดฟ เดฒเดฟเดฏเตเตบ เดตเตเดณเดฟเดชเตเดชเตเดเตเดคเตเดคเตเดจเตเดจเต
เดฒเตเดเดฎเตเดเตเดเตเดเตเดเต เด เดฑเดฟเดฏเดชเตเดชเตเดเตเดจเตเดจ เดคเดพเดฐ เดธเตเดจเตเดฆเดฐเดฟเดฏเดพเดฃเต เดธเดฃเตเดฃเดฟ เดฒเดฟเดฏเตเตบ. เดเดจเตเดจเต เดธเดฃเตเดฃเดฟ เดฒเดฟเดฏเตเดฃเดฟเดจเตเดฑเต เดฎเตเดชเตเดชเดคเตเดคเดฟเดฏเตเดฎเตเดชเดคเดพเด เดเดจเตเดฎเดฆเดฟเดจเดฎเดพเดฃเต. เดฒเดเตเดทเดเตเดเดฃเดเตเดเดฟเดจเต เดเดณเตเดเดณเดพเดฃเต เดคเดพเดฐเดคเตเดคเดฟเดจเต เดชเดฟเดฑเดจเตเดจเดพเตพ เดเดถเดเดธเดเตพ เดจเตเตผเดจเตเดจเตเดเตเดฃเตเดเต เดธเดฎเตเดน เดฎเดพเดงเตเดฏเดฎเดเตเดเดณเดฟเดฒเตเดเต เดเดคเตเดคเดฟเดฏเดฟเดฐเดฟเดเตเดเตเดจเตเดจเดคเต. 1981 เดฎเตเดฏเต 13 เดจเดพเดฃเต เดเดจเตเดจเต เดธเดฃเตเดฃเดฟ เดฒเดฟเดฏเตเตบ เดเดจเตเดจเดฑเดฟเดฏเดชเตเดชเตเดเตเดจเตเดจ เดเดฐเดเตเดเดฟเดคเต เดเตเตผ เดเดจเดฟเดเตเดเดคเต. เดฎเตเดจเตเดจเต เดเตเดเตเดเดฟเดเดณเต เดฆเดคเตเดคเตเดเตเดคเตเดคเต เดตเดณเตผเดคเตเดคเตเดจเตเดจเตเดฃเตเดเต เดเดจเตเดจเต เดธเดฃเตเดฃเดฟ เดฒเดฟเดฏเตเตบ เดเดจเตเดจ เดชเต-เตบ เดคเดพเดฐเด. เด เดฎเตเดฐเดฟเดเตเดเตป เดชเตเดฐเดคเตเดตเดฎเตเดณเตเดณ เดเดจเตเดคเตเดฏเตป เดตเดเดถเดเดฏเดพเดฏ เดธเตเดคเตเดฐเตเดฏเดพเดฃเต เดธเดฃเตเดฃเดฟ เดฒเดฟเดฏเตเตบ. เดธเดฃเตเดฃเดฟ เดฒเดฟเดฏเตเตบ เดเดฆเตเดฏเดฎเดพเดฏเดฟ เดชเต-เตบ เดตเตเดกเดฟเดฏเต เดเดฃเตเดเดชเตเดชเตเตพ เดคเดจเดฟเดเตเดเต เด เดคเดฟเดจเตเดเต เดคเตเดจเตเดจเดฟเดฏเดคเต เดตเตเดฑเตเดชเตเดชเดพเดฃเตเดจเตเดจเต เดคเดพเดฐเด เดตเตเดณเดฟเดชเตเดชเตเดเตเดคเตเดคเตเดจเตเดจเต. เดชเดคเตเดคเดพเด เดตเดฏเดธเดฟเตฝ เดเดฆเตเดฏเดฎเดพเดฏเดฟ เดเดฐเต เดชเต-เตบ เดตเตเดกเดฟเดฏเต เดเดฃเตเดเดชเตเดชเตเตพ เด เดฏเตเดฏเต เดเดคเตเดจเตเดคเต เดฎเตเดถเดฎเดพเดฃเตเดจเตเดจเต เดชเตเดฒเตเด เดเดฟเดจเตเดคเดฟเดเตเดเต เดชเตเดฏเดฟเดเตเดเตเดฃเตเดเตเดจเตเดจเต เดธเดฃเตเดฃเดฟ เดฒเดฟเดฏเตเตบ เดเดฐเต เด เดญเดฟเดฎเตเดเดคเตเดคเดฟเตฝ เดตเตเดณเดฟเดชเตเดชเตเดเตเดคเตเดคเดฟ.
เดธเดฃเตเดฃเดฟ เดฒเดฟเดฏเตเตบ เดชเดฟเดจเตเดจเตเดเต เดชเต-เตบ เดฎเตเดเดฒ เดคเดจเตเดฑเต เดเดพเดฐเดฟเดฏเดพเดฑเดพเดเตเดเดฟ เดฎเดพเดฑเตเดฑเดฟ เดฎเตเดจเตเดจเตเดเตเดเต เดตเดฐเดฟเดเดฏเดพเดฏเดฟเดฐเตเดจเตเดจเต. เดเดเตเดเดพเดฐเตเดฏเด เดธเดฃเตเดฃเดฟ เดฒเดฟเดฏเตเดฃเดฟเดจเตเดฑเต เดเตเดตเดฟเดคเดคเตเดคเต เดเดธเตเดชเดฆเดฎเดพเดเตเดเดฟเดฏเตเดณเตเดณ เดตเตเดฌเต เดธเตเดฐเดฟเดธเดฟเดฒเตเด เดชเดฑเดฏเตเดจเตเดจเตเดฃเตเดเต. เดคเดจเตเดฑเต เดเดจเตเดฎเดฆเดฟเดจเดคเตเดคเดฟเตฝ เดเดถเดเดธเดเตพ เดจเตเตผเดจเตเดจเดตเตผเดเตเดเต เดจเดจเตเดฆเดฟเดฏเตเดฎเดพเดฏเดฟ เดคเดพเดฐเด เดเตปเดธเตเดฑเตเดฑเดพเดเตเดฐเดพเดฎเดฟเตฝ เดตเตเดกเดฟเดฏเต เดชเดเตเดเตเดตเตเดเตเดเตเดเดฏเตเด เดเตเดฏเตเดคเดฟเดเตเดเตเดฃเตเดเต. เดจเดฟเดเตเดเดณเตเดเตเดฏเตเดฒเตเดฒเดพเด เดธเตเดจเตเดนเด เดฒเดญเดฟเดเตเดเตเดจเตเดจ เดเดพเตป เดเดคเตเดฐเตเดฏเต เดญเดพเดเตเดฏเดตเดคเดฟเดฏเดพเดฃเตเดจเตเดจเตเด เดจเดฟเดเตเดเดณเตเดฒเตเดฒเดพเดตเดฐเตเด เดเดจเตเดฑเต เดเตเดตเดฟเดคเดคเตเดคเดฟเดจเตเดฑเต เดญเดพเดเดฎเดพเดฃเตเดจเตเดจเตเด, เด เดฆเตเดฐเดฟเดคเดเดพเดฒเด เดเดฐเต เดเตเดฑเตเดชเตเดเตเดเดฟเดฐเดฟเดฏเตเดเต เดจเดฎเตเดเตเดเต เดจเตเดฐเดฟเดเดพเดฎเตเดจเตเดจเตเด เดคเดพเดฐเด เดเตปเดธเตเดฑเตเดฑเดพเดเตเดฐเดพเดฎเดฟเตฝ เดชเดเตเดเตเดตเตเดเตเด เดตเตเดกเดฟเดฏเตเดฏเดฟเตฝ เดชเดฑเดฏเตเดจเตเดจเตเดฃเตเดเต. เดชเต-เตบ เดฎเตเดเดฒเดฏเดฟเดฒเตเดเตเดเต เดตเดฐเตเดจเตเดจเดคเดฟเดจเต เดฎเตเตปเดชเต เดคเดพเดฐเด เดเตผเดฎเตป เดฌเตเดเตเดเดฑเดฟเดฏเดพเดฏ เดเตเดซเดฟ เดฒเตเดฌเดฟเดฒเตเด เดเดพเดเตเดธเต เดเตปเดกเต เดฑเดฟเดเตเดเดฏเตผเดฎเตเดจเตเดฑเต เดเดจเตเดจเดฟ เดธเตเดฅเดพเดชเดจเดคเตเดคเดฟเดฒเตเด เดธเตเดตเดจเดฎเดจเตเดทเตเดเดฟเดเตเดเดฟเดเตเดเตเดฃเตเดเต. เดธเดฟเดจเดฟเดฎ เดฎเตเดเดฒเดฏเดฟเดฒเตเดเตเดเต เดตเดจเตเดจเดคเตเดเตเดฏเดพเดฃเต เดคเดพเดฐเด เดชเตเดฐเต เดฎเดพเดฑเตเดฑเดฟ เดธเดฃเตเดฃเดฟ เดฒเดฟเดฏเตเตบ เดเดจเตเดจเดพเดเตเดเดฟเดฏเดคเต.
2011 เตฝ เดฌเดฟเดเต เดฌเตเดธเตเดธเต เดเดจเตเดจ เดเตเดฒเดฟเดตเดฟเดทเตป เดชเดฐเดฟเดชเดพเดเดฟเดฏเดฟเตฝ เดชเดเตเดเตเดเตเดคเตเดคเดฟเดเตเดเตเดฃเตเดเต เดคเดพเดฐเด. เดเตเดเดพเดคเต เดเดจเตเดคเตเดฏเตป เดธเดฟเดจเดฟเดฎเดฏเดฟเดฒเตเด เด เดญเดฟเดจเดฏเดฟเดเตเดเดฟเดเตเดเตเดฃเตเดเต. เดชเตเด เดฌเดเตเดเดฟเดจเตเดฑเต เดเดฟเดธเด 2 เดเดจเตเดจ เดฒเตเดเดเดฟเด เดคเตเดฐเดฟเดฒเตเดฒเตผ เดเดฟเดคเตเดฐเดคเตเดคเดฟเตฝ เดเตเดเดฟ 2012 เตฝ เดฌเตเดณเดฟเดตเตเดกเดฟเตฝ เดคเดพเดฐเด เด เดญเดฟเดจเดฏเดฟเดเตเดเต. เดคเตเดเตผเดจเตเดจเต 2013 เตฝ เดเดพเดเตเดเตเดชเตเดเตเดเต, 2014 เตฝ เดฑเดพเดเดฟเดฃเดฟ เดเด เดเด เดเดธเต 2, 2015 เตฝ เดเดเต เดชเตเดนเดฒเดฟ เดฒเตเดฒ เดเดจเตเดจเดฟ เดเดฟเดคเตเดฐเดเตเดเดณเดฟเดฒเตเด เดธเดฃเตเดฃเดฟ เดฒเดฟเดฏเตเตบ เด เดญเดฟเดจเดฏเดฟเดเตเดเดฟเดเตเดเตเดฃเตเดเต. เดเตเดเดพเดคเต เดฎเดฒเดฏเดพเดณ เดธเดฟเดจเดฟเดฎเดฏเดพเดฏ เดฎเดฎเตเดฎเตเดเตเดเดฟ เดจเดพเดฏเดเดจเดพเดฏเดฟ เด เดญเดฟเดจเดฏเดฟเดเตเด เดฎเดงเตเดฐเดฐเดพเด เดเดจเตเดจ เดเดฟเดคเตเดฐเดคเตเดคเดฟเตฝ เดฎเตเดนเดฎเตเดจเตเดคเดฟเดฐเดฟ เดเดจเตเดจ เดเดพเดจเดคเตเดคเตเดเตเดชเตเดชเด เดฎเดฎเตเดฎเตเดเตเดเดฟเดฏเตเดเตเดเตเดชเตเดชเด เดเตเดตเดเตเดเตพ เดตเตเดเตเดเตเดเตเดฃเตเดเต เดธเดฃเตเดฃเดฟ เดฒเดฟเดฏเตเตบ เด เดญเดฟเดจเดฏเดฟเดเตเดเดฟเดฐเตเดจเตเดจเต.
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เดฎเตเดนเตปเดฒเดพเตฝ เดฎเดฒเดฏเดพเดณเด เดฎเตเดตเดฟ เดฒเตเดธเดฟเดซเตผ เดฎเตเดตเดฟ เดเดพเดฃเตเดตเดพเตป เดเดตเดฟเดเต เดเตเดฒเดฟเดเตเดเต เดเตเดฏเตเดฏเต ๐๐
