片名：拉莉萨

别名：拉莉萨免费在线播放

电影类别:剧情片

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：2024-01-10 01:20

《拉莉萨》该片自上映后，口碑爆棚，能否成为年度最佳剧情片？

《拉莉萨》该片自上映后，口碑爆棚，能成为年度最佳剧情片。《拉莉萨》往往可以变成在今年的电影中用户评价有名的电影，直接原因是《拉莉萨》整部著作自身足够好，不论是艺人依莱姆·克里莫夫,Valentin Rasputin,Stefaniya Stanyuta的呈现、依莱姆·克里莫夫拍摄技巧，或是电影情节和现实感，全是非常出众的，取得好口碑：9.0分其实也很正常。《拉莉萨》的艺人依莱姆·克里莫夫,Valentin Rasputin,Stefaniya Stanyuta尽管说不是非常有名，但是依莱姆·克里莫夫,Valentin Rasputin,Stefaniya Stanyuta的表演很好，可以把观众们带到到小故事中来，让粉丝有一种窒息的感觉，相比这些帅哥的表演依莱姆·克里莫夫,Valentin Rasputin,Stefaniya Stanyuta的表演真是能够称之为高手，因此大家喜欢这部剧情片。

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　　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.