- 神马影视
猜你喜欢
1966
0.0分
剧情片
张英才 Ying Choi Cheung 南红 Hung Ying Chen Lei Chin 冯敬文 许莹英 Lo Ngok Lam 李清 Hark Lee 李寿祺 李鹏飞 骆恭 Yeh-Hung Yang
/
李炳離奇墮樓死亡, 警探何幹對炳昔日行劫夥伴杜子駒成見甚深, 認定是駒所為. 幹訪駒, 令駒妻燕卿忐忑不安. 駒誓言已洗心革臉, 不忿遭幹查問 ; 終因他的調查, 被任職的紗廠辭退. 駒兄子龍與以林維紀為首的匪幫為伍, 紀設局引駒墮入圈套, 又與龍力勸駒重出江湖, 駒斷然拒絕. 生活拮据, 卿瞞著駒到舞廳伴舞, 龍見到後告知駒, 駒盛怒之下, 把心一橫, 答允加入匪幫盜取紗廠巨款. 豈料事後, ..
HD
1992
0.0分
剧情片
HD
1994
0.0分
剧情片
HD
1981
0.0分
剧情片
HD
《拉莉萨》剧情介绍
神马影院 - 免费完整版在线播放电影电视剧提供影视作品拉莉萨高清全集在线观看的影视全集网,剧情片《拉莉萨》全集作品的导演是依莱姆·克里莫夫 ,由依莱姆·克里莫夫 Valentin Rasputin Stefaniya Stanyuta 主演,拉莉萨在豆瓣的评分为0.0,本片由小编于2025-06-11 03:44更新,希望大家喜欢,可以把《拉莉萨》推荐给你朋友,本作品的地址为 http://www.yljspxxy.com/haokan/index47032.html
《拉莉萨》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.