上美影攜手北京貓貓家傳媒，《歡迎來到北北家》北京動畫周官宣開機
保險公司前三季度原保險保費收入5.2萬億元，同比增長8.5%
墨西哥一網紅在美容院直播時遭槍擊身亡 總統發聲
鳳岡：“國補”激發消費活力 電動自行車“換新”升溫
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.
微視頻｜直接沖！來三坡，放心“野”
A修迎關鍵里程碑 貴州金元鴨溪電廠1號汽輪機低壓缸順利吊出
聚焦第二十屆中國吳橋國際雜技藝術節·現場評｜讓古老雜技向新而行
河北五超·微視頻｜第十六輪滄州賽區上演雙人雜技《光影夢環》，技驚四座！
新任聯席董事長趙佳臻：下一個三年，拼多多不是要更多元，而是要更聚焦