拉莉萨 HD中字

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

【天乐影院】推荐电影拉莉萨高清在线观看完整版720P播放地址，这是一部追求真实的其它剧情片，展现了社会与人性的多面性，让人大开眼界。拉莉萨的导演依莱姆·克里莫夫巧妙地运用镜头语言，将故事情节展现得淋漓尽致，让观众们如同身临其境。

《拉莉萨》观后点评：拉莉萨的故事设定太有意思了！充满了新奇和创意，让人越看越好奇后面会怎样发展；拉莉萨的演员有依莱姆·克里莫夫,Valentin,Rasputin,Stefaniya,Stanyuta，他们个个演技精湛，将拉莉萨的角色性格特点表现得淋漓尽致，让观众情不自禁地为之喝彩，真是一部好看的电影。

《拉莉萨》抖音网友点评：拉莉萨由导演依莱姆·克里莫夫执导拍摄，剪辑手法独具匠心，每一个过渡和剪辑都恰到好处，给人以耳目一新的感觉；拉莉萨的音乐配乐优美，旋律中藏着故事， 画面里流淌情感，这是一部精彩的电影，打动了观众的情感，让人感到震撼。

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.