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    https://sophisticatedspectra.com/article/drosia-serenity-a-modern-oasis-in-the-heart-of-larnaca.2521391.html

    DROSIA SERENITY
    A Premium Residential Project in the Heart of Drosia, Larnaca

    ONLY TWO FLATS REMAIN!

    Modern and impressive architectural design with high-quality finishes Spacious 2-bedroom apartments with two verandas and smart layouts Penthouse units with private rooftop gardens of up to 63 m² Private covered parking for each apartment Exceptionally quiet location just 5–8 minutes from the marina, Finikoudes Beach, Metropolis Mall, and city center Quick access to all major routes and the highway Boutique-style building with only 8 apartments High-spec technical features including A/C provisions, solar water heater, and photovoltaic system setup.
    Whether for living or investment, this is a rare opportunity in a strategic and desirable location.

    Hiroshima Mon Amour (1959) [The Criterion Collection]

    Posted By: Helladot
    720p (HD) / BDRip IMDb
    Hiroshima Mon Amour (1959) [The Criterion Collection]

    Hiroshima Mon Amour (1959)
    BDRip 720p | MKV | 1280 x 720 | x264 @ 2560 Kbps | 1h 30mn | 1,84 Gb
    Audio: Français AC3 1.0 @ 160 Kbps | Subtitles: English (embedded)
    + English Commentary track
    Genre: Drama, Romance | Director: Alain Resnais

    A cornerstone of the French New Wave, the first feature from Alain Resnais is one of the most influential films of all time. A French actress (Emmanuelle Riva) and a Japanese architect (Eiji Okada) engage in a brief, intense affair in postwar Hiroshima, their consuming mutual fascination impelling them to exorcise their own scarred memories of love and suffering. With an innovative flashback structure and an Academy Award–nominated screenplay by novelist Marguerite Duras, Hiroshima mon amour is a moody masterwork that delicately weaves past and present, personal pain and public anguish.

    IMDB - 7 wins + Nominated for 1 Oscar

    (Enlargeable)
    Hiroshima Mon Amour (1959) [The Criterion Collection]

    Audio commentary by film historian Peter Cowie