女生讓男生誦自己的誦

電視劇《陣地》“國歌之父” 扮演者張博：演戲演的是魂

陳中瑞：將個人夢和中國夢、航天夢相連 我是幸福的

九江VS鷹潭：看似懸殊 其實未必

配電設施接受雨中“體檢”

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.

《奧林匹克藝術憲章》簽署30周年慶典在巴黎圓滿落幕 多項成果繪就藝術全球化新圖景

第一觀察｜大國領袖的胸懷擔當 以史鑒今的真理力量

TT零封NIP！網友：好人啊，不拖沓！

商丘：三條特色文旅線路，帶你玩轉木蘭故里丨跟著豫排去旅行