取消
首页  »  电影  »  剧情片  »  拉莉萨
极速线路无需安装任何插件,即可快速播放
随机推荐
  • 如何做爱

    米娅·麦肯纳·布鲁斯,拉腊·皮克,肖恩·托马斯,塞缪尔·博顿利,恩瓦·刘易斯,劳拉·安布勒,黛西·杰利,艾利德·罗安,埃利奥特·沃伦

  • 7分钟

    Antoine Herbez,Clément Naline,Valentin Malguy,Paul Arvenne,Cédrick Spinassou,Robin Larroque,Valérie Prudent,Yohan Levy,Roman Picard,Sylvain Jouret,Martine Nograbt,A?da Grifoll,Romain Gourrand,Kevin Go

  • 性奴养成记

    Marcus Bellamy,Patrick Kuzara,Joe MacDougall,David J. Cork,Dedrick Anthony,Linda Manning,Michael Durso,Ano Okera,Brian Shirley,Sam Encarnacion,James J. Crawley,Ryan McCarthy,Tanya Everett,Drew Allen,K

  • 揭露

    刘多仁,姜敏赫,孔尚雅

  • 雪花那个飘2006

    倪萍,刘威,苗圃

  • 再见,我的灵魂伴侣

    金多美,全昭霓,边佑锡

《拉莉萨》内容简介
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.
加载中...