拉莉萨 HD国语

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分类:剧情片 其它 1980

导演:依莱姆·克里莫夫  

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无需安装任何插件,即可快速播放

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剧情介绍

片名:拉莉萨

别名:拉莉萨免费在线播放

电影类别:剧情片

连载状态:完结

发行年份:1980

首映地区:其它

导演:依莱姆·克里莫夫

演员:依莱姆·克里莫夫,Valentin Rasputin,Stefaniya Stanyuta

更新时间:2024-01-10 03:03

《拉莉萨》主演阵容都有谁?

《拉莉萨》由依莱姆·克里莫夫执导,依莱姆·克里莫夫,Valentin Rasputin,Stefaniya Stanyuta领衔主演。

《拉莉萨》是哪一年在其它上映的?

《拉莉萨》于1980在其它上映,《拉莉萨》由导演:依莱姆·克里莫夫执导,依莱姆·克里莫夫,Valentin Rasputin,Stefaniya Stanyuta领衔主演的剧情片。

《拉莉萨》是根据一个真实故事改编的,那《拉莉萨》故事的大致内容是怎样的??

如果您喜欢【星空影视】(www.yn227.com)分享的《拉莉萨》,别忘了推荐给你的好友!

  A loving film tribute to Russian filmmaker Larisa Shepitko, who died tragically in a car accident in 1979 at the age of 40. This documentary by her husband, Elem Klimov, includes excerpts from all of Shepitko's films, and her own voice is heard talking about her life and art.
  Elem Klimov's grief-stricken elegy Larisa examines the life of his late wife—the film director Larisa Shepitko—through a series of direct-address interviews and photomontages, set against a mournful visual-musical backdrop. Typically, Klimov films his subjects (which include himself and several of Shepitko's collaborators) within a stark, snow-covered forest, its tangled web of trees standing in as metaphorical representation of a perhaps inexpressible suffering, the result of Shepitko's premature death while filming her adaptation of Valentin Rasputin's novella Farewell to Matyora. Interweaving home movie footage with sequences from Shepitko's work (Maya Bulgakova's pensive plane crash reminiscence from Wings takes on several new layers of resonance in this context), Larisa's most powerful passage is its first: accompanied by the grandiose final music cue from Shepitko's You and I, Klimov dissolves between a series of personal photographs that encompass Larisa's entire life, from birth to death. This brief symphony of sorrow anticipates the cathartic reverse-motion climax of Klimov's Come and See, though by placing the scene first within Larisa's chronology, Klimov seems to be working against catharsis. The pain is clearly fresh, the wound still festering, and Klimov wants—above all—to capture how deep misery's knife has cut.

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