拉莉萨 已完结

评分:
8.0 推荐

分类:剧情片 其它 1980

导演:依莱姆·克里莫夫   

无需安装任何插件,即可快速播放

无需安装任何插件,即可快速播放

无需安装任何插件,即可快速播放

无需安装任何插件,即可快速播放

剧情介绍

片名:《拉莉萨》

类型:剧情片

上映时间:1980

上映地区:其它

导演:依莱姆·克里莫夫

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

集数: 更新至0集

语言:其它

《拉莉萨》剧情片拍摄画面十分精美,拉莉萨电影由导演依莱姆·克里莫夫指导拍摄,拉莉萨讲述了一个荡气回肠的故事,拉莉萨场面宏大的背景画面,配上拉莉萨旋律优美的音乐配乐,让拉莉萨的观众得到一场酣畅淋漓的视听体验。

《拉莉萨》观后点评:拉莉萨的剧情紧凑情节饱满,拉莉萨的演员依莱姆·克里莫夫,Valentin,Rasputin,Stefaniya,Stanyuta充分把握角色定位,拉莉萨编剧的台词更是让人记忆深刻,是一部相当精彩的剧情片。

《拉莉萨》抖音网友评价:拉莉萨的剧情实在精彩,拉莉萨的音乐配乐更是刻画得入木三分,拉莉萨的台词幽默深刻,让人在进入拉莉萨勾画的影视世界的同时,也能得到精神上极大的满足。

《拉莉萨》剧情简介: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.

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