拉莉萨已完结

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分类：剧情片地区：其它年份：1980

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

主演：依莱姆·克里莫夫 Valen..

导演：依莱姆·克里莫夫

更新：2025-05-06 13:57

简介： A loving film tribute to Russian filmmaker Larisa.. 详情

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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

【华威影院】推荐电影拉莉萨高清在线免费观看全集720P播放地址，拉莉萨剧情紧凑节奏流畅，深深吸引了拉莉萨观众的喜爱。拉莉萨的演员包括依莱姆·克里莫夫,Valentin,Rasputin,Stefaniya,Stanyuta，演技精湛情感细腻,，每个角色都栩栩如生,，令人叹为观止。

《拉莉萨》观后点评：拉莉萨的摄影和美术设计简直是一流的，每个场景画面如诗如画；拉莉萨的音乐也是一大亮点，它完美地融入到剧情当中，给观众带去视觉享受和极大的情感共鸣，是一部不得不看的电影。

《拉莉萨》抖音网友点评：拉莉萨的导演依莱姆·克里莫夫相当出色，运用不同的拍摄手法，让观众感受到不同的观影体验；拉莉萨运动先进的特效技术，将虚拟与现实的世界巧妙地结合在一起，给观众带来震撼的视觉体验。是一部精彩的剧情片。

拉莉萨讲述了：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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