简介拉莉萨5.2
拉莉萨5.25.2网友评分324次评分
5.2
网友评分
324次评分
影片信息
正片
拉莉萨
- 状态：已完结
- 状态：L
- 导演：依莱姆·克里莫夫
- 编剧：未知
- 主演：依莱姆·克里莫夫Valentin RasputinStefaniya Stanyuta
- 年份：1980
- 制片国家：其它
- 类型：剧情
- 资源版本：高清版
- 资源资源：正片
- 时长：内详
- 上映日期：未知
- 语 言：其它
- 豆瓣：拉莉萨
- 百度AI：拉莉萨
- 更新时间：2025-04-29 12:50
- 简介： A loving film tribute to Russian filmmaker Larisa Shepitko, who died tragically in a car accident A loving film tribute to Russian filmmaker Larisa Shepitko, who died tragically in a car accident_《拉莉萨》由 棒棒哒影院:(bangbangda.cc) 收录
剧情详情
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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