某個春天，姜賢和不久前退伍的后輩善宇一起登上了北岳山。兩人的對話自然會召喚他們過去的戀人。與她們的關系就像山路一樣，反復上坡和下坡，有時迷路徘徊，有時像樹蔭下感受到的風一樣涼爽，有時像在山峰上擁有了全世界一樣發出的吶喊。就這樣，兩人一邊說著反省書般的戀愛史，一邊向頂峰一步一步地前進，突然被經過他們面前的女人心動，也被下山的大叔毫無營養的建議所累。他們究竟要爬多高才能理解她們的心，懂得愛情？
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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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（總臺央視記者 北條麻妃作品）?
