拉莉萨在线观看HD中字

片名: 《拉莉萨》

类型: 剧情片

导演: 依莱姆·克里莫夫

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

上映时间: 1980

发行地区: 其它

【青苹果影院】分享全网热门影视剧情片作品,《拉莉萨》由鼎鼎大名的导演依莱姆·克里莫夫带领知名演员依莱姆·克里莫夫,Valentin,Rasputin,Stefaniya,Stanyuta在以夜继日的努力下共同完成,《拉莉萨》影片总能在各路演员的倾情演绎下使得观众总能更快的融入影片当中;《拉莉萨》的剧情饱满环环相扣跌宕起伏,《拉莉萨》是值得各位看客反复多次观看的影片，似乎每遍都能有新的解读,《拉莉萨》广受好评是一部让许多影视爱好者保存与分享的佳作,《拉莉萨》的人物设定切合影片主题，是一部引人深思,让人意犹未尽的作品,《拉莉萨》总是能让人在快节奏的时代里慢下来享受这仅仅属于你的闲暇时间~

【青苹果影院】每日热门电影动漫电视剧欢迎大家分享与收藏！

青苹果影院(https://jiniunai.com)影迷佳评:陪我度过无聊周末的绝佳作品，期待下个周末的电影时光。

《拉莉萨》剧情简介:青苹果影院提供拉莉萨免费在线观看 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.