主演:依莱姆·克里莫夫 Valentin Rasputin Stefaniya Stanyuta
导演:依莱姆·克里莫夫
更新:2024-05-17 17:45
简介: A loving film tribute to Russian filmmaker Lari.. 详情
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:2024-05-17 17:45
剧情片拉莉萨今日上线花捧影院2024-05-17 17:45!拉莉萨真的是很完美的作品,也很难让人想象剧情片拉莉萨居然花捧影院2024-05-17 17:45更新了,剧情片拉莉萨肯定是导演依莱姆·克里莫夫指导的十佳作品之一,拉莉萨值得大家分享!剧情片拉莉萨导演:依莱姆·克里莫夫,在1980 年于其它上映,拉莉萨演员:依莱姆·克里莫夫,Valentin Rasputin,Stefaniya Stanyuta ,拉莉萨豆瓣评分:8.0,拉莉萨语种:其它, 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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