緬甸教育《川村千里》| 午夜激情 - 戲劇片完整版-\-期刊...

河北五超·微視頻丨烽煙再起！“河北五超”將開啟第四輪對決

宋詞跳進兒童劇！酷小麥、北京兒藝合制《明月幾時有》今日北京首演

中意攜手 智創未來——意大利約布斯學院AI藝術設計培訓營在天津商務職業學院開營

一場惡作劇害他勤修苦讀的高三努力全付諸東流，因此他列出一張清單，分享自己希望做出哪些不同以往的改變，而一切或許都還不算太晚。

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.

“智慧武當”給游客帶來數字文旅新體驗

30000噸“大國重器”交付！可監測美方導彈，6000公里內無所遁形

深信服AD以技術之力鑄業務之基，穩居IDC市場份額第一

滿幫貨車司機云上黨支部又新增7個