拉莉薩 已完結

片名:《拉莉薩》

類型:劇情片

上映時間:1980

上映地區:其它

導演:依萊姆·克里莫夫

主演:依萊姆·克里莫夫,Valentin,Rasputin,Stefaniya,Stanyuta

集數: 更新至0集

語言:其它

【優凱云影院】分享拉莉薩全集完整版在線觀看免費高清藍光播放地址，拉莉薩講述了一個充滿新奇和創意的故事，由知名導演依萊姆·克里莫夫傾情執導拍攝，獨特的視角和鏡頭語言，將拉莉薩的劇情展現得淋漓盡致，讓觀眾仿佛身臨其境。拉莉薩是1980上映的好看其它電影，在其它地區拿到7.0的評分，是一部優秀的劇情片作品。

《拉莉薩》觀后點評：拉莉薩的每個角色塑造都很有深度，演員包括依萊姆·克里莫夫,Valentin,Rasputin,Stefaniya,Stanyuta，無論是主角還是配角都發揮了精湛的演技，栩栩如生讓觀眾仿佛身臨其境，是一部代入感很好的電影。

《拉莉薩》抖音網友點評：拉莉薩的故事構思巧妙，劇情跌宕起伏，吸引了觀眾的喜愛。拉莉薩的臺詞精彩幽默，讓觀眾捧腹大笑；拉莉薩的音樂和配樂也是恰到好處，給拉莉薩的劇情發展烘托了更好的氛圍，是一部值得一看的其它電影。

拉莉薩講述了：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.