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更新时间：2025-01-11
拉莉萨剧情介绍
拉莉萨是一部由导演依莱姆·克里莫夫执导，依莱姆·克里莫夫,Valentin,Rasputin,Stefaniya,Sta等众多明星倾情出演的短片,传记,剧情。该影片于1980年上映。
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无论是 其它 的热门电视剧还是电影，我们都为您准备了多条观看线路，您可以根据自己的网络情况选择最适合的播放速度。此外，我们还拥有丰富的国产剧、韩剧、欧美剧以及各种经典大片和搞笑综艺，满足您的观影需求。
最后，温馨提示：在享受这些精彩影片时，请适当休息，避免长时间近距离观看，以保护您的视力和眼睛健康。祝您观影愉快！短片,传记,剧情
我们提供了优酷、腾讯视频、爱奇艺等多个平台的高清播放线路，以及便捷的 m3u8 播放方式，确保您能畅享 拉莉萨 其它 的精彩。
无论是 其它 的热门电视剧还是电影，我们都为您准备了多条观看线路，您可以根据自己的网络情况选择最适合的播放速度。此外，我们还拥有丰富的国产剧、韩剧、欧美剧以及各种经典大片和搞笑综艺，满足您的观影需求。
最后，温馨提示：在享受这些精彩影片时，请适当休息，避免长时间近距离观看，以保护您的视力和眼睛健康。祝您观影愉快！短片,传记,剧情
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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