赞美诗:莎拉·布莱曼演唱会
地区:印度
  类型:年代
  时间:2025-04-30 23:59:24
剧情简介

赞美It is a great film by a great director.Kira Muratova has never been given her due in the Soviet and post-Soviet Russia.In the "Long Good Bye" she depicts a seemingly banal story of a jealous and possessive mother (brilliantly acted by Zinaida Sharko) and her poor aloof and lonely son (the only cinematic role by the talented O. Vladimirsky). The story - which is nothing extraordinary in itself - grows into the wonderful and frightening analysis of alienation between genders and generations on the background of the even more frighteningly bleak and dehumanized Soviet reality.Kira Muratova shows the tiny details of everyday Soviet life,and, again , banal as they are ,they are a hair-raising horror.The dialogue is deliberately laconic and void of any sense, showing the ever-growing people's inability to communicate and understand each other.The sound track ( by another under-estimated talent, Oleg Karavaichuk)adds to the atmosphere of hopeless and meaningless existence.Of course,Sasha (the name of the protagonist),will leave his despotic ( but loving!) mother sooner or later, but where for? (c) Author: drbagrov from Taiwan

37次播放
76人已点赞
112人已收藏
明星主演
王俊雄
詹航
陶佳
最新评论(943+)

温兆伦

发表于3分钟前

回复 :影片讲述了虽然已经离婚但是一直无法真正分手的一对男女搞笑又令人心痛的罗曼史,此前已经在第17届全州国际电影节韩国竞赛单元上首次亮相,并获得了作品性的认可。全慧彬通过该片展现了和以往不同的爽朗魅力,抛下了干练的都市形象,饰演了一个很挑剔但是已经完全过气的女演员和申敏哲饰演的电影导演新人展开一场恋爱故事。


消失部落

发表于6分钟前

回复 :明朝中期,流浪剑客李擎苍带着重病的妻子蓝羽儿四处求医,路过一个海边小城发现城中的居民都得了一种怪病,随着李擎苍的调查,一场倭寇入侵的阴谋逐渐浮出水面,随着李擎苍逐步靠近真相,竟得知幕后主使与当年李家的灭门惨案有着莫大的关联,最终,为正义而战擎苍在一次次决战中更上一层楼,正面击败了幕后主使铁面人,带着妻子蓝羽儿重新踏上了寻医问诊之路


费星

发表于4分钟前

回复 :与Stefan Uher和Elo Havatta一样,Eduard Grecner也是60年代斯洛伐克新浪潮电影的缔造者之一。他的三部影片《一周七天》(1964)《尼绒月亮》(1965)和这部《徳拉克的回归》都是斯洛伐克新浪潮电影的代表作。这部叙事方法独特带有明显意识流风格的黑白影片甚至间接影响到了后来法国导演格里耶在捷克拍摄的两部影片《说谎的人》和《Eden and After》。A special place in the development of feature films is reserved for Eduard Grecner, the creator of just one good film, Dragon Returns (Drak sa vracia, 1967), titled after the nickname of the lead character. After his initial work with Uher, Grecner made his mark as a proponent of the so-called "intellectual" film, the antithesis of the sociologically, or rather, socially critical film. Grecner's great role model was Alan Resnais, a young French filmmaker who sought to introduce Slovakia to the idea of film as a labyrinth in which meanings are created not by stories, but by complex configurations of dialogue, shots, and various layers of time, thus differentiating film from both literature and theater. In Dragon Returns―the story of a solitary hero who is needed by villagers living far in the mountains, but who is rejected by them at the same time because of his detachment―Grecner brought the tradition of lyricized prose to life through a whole series of formal aesthetic techniques. Alain Robbe-Grillet immediately developed this idea in the film shot in Bratislava The Man Who Lies (Slovak: Muz, ktory luze; French title: L'homme qui ment; 1968), and perfected it in Eden and After (Eden a potom, 1970).


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