
- 拉莉萨
- 主演:依莱姆·克里莫夫,Valentin Rasputin,Stefaniya Stanyuta
- 类型:剧情
- 导演:依莱姆·克里莫夫
- 地区:其它
- 年份:1980
- 语言:其它
- 备注:已完结
- 更新:2024-07-26
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我仍在此2024
费尔南达·托里斯,费尔南达·蒙特内格罗,赛尔顿·梅罗,梅芙·金琴丝,奥塔维奥·林哈里斯,安东尼奥·萨博亚,玛乔丽·伊斯恬诺,温贝托·卡劳,卡米拉·马尔蒂拉,丹·斯蒂拉奇,Valentina,Herszage,卡拉·里巴斯,Olívia,Torres,玛丽亚·马努拉,Kauã,Rodriguez,Guilherme,Silveira,加布里埃拉·卡内罗·达库尼亚,Bárbara,Luz,路易莎·科索夫斯基,Cora,Ramalho
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HD中字
虎口夺金
王辉,张勇,单薇,孙文雪
剧情片
2025/大陆
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猫无赦
ミネオショウ , 絢寧
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2023/日本
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永远超级幸福
佐野弘樹,宮田佳典,山本奈衣瑠,ホアンヌクイン,笠島智,海沼未羽,足立智充,影山祐子,矢嶋俊作
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2024/日本,法国
HD
心灵家园
张旭,李熙媛,竹卿,蓝飞扬
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2025/大陆
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深山狙击
王骏毅,王品一,张立,赵亮,苇青,刘惠
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2025/大陆
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- 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.