91
1.0

真正的生活

导演:
丹尼·伯恩
主演:
丹尼·伯恩,凯德·麦拉德,夏洛特·甘斯布,Maxime Gasteuil,卡罗琳·安格鲁德,奥萝尔·克莱芒,加埃尔·拉埃,Sarah Boon,Maybelle Billa Snodgrass,塔蒂安娜·古瑟夫,马林·尤达斯,Julie Farenc,Mathieu Madénian,Antonia de Rendinger,Dan Cohen,Patrick Boshart,瓦莱丽·克鲁塞,Luc Van Grunderbeeck,Isadora Moya,France Darry
别名:
未知
1.0
91人评分
法语
语言
2023-04-19
上映时间
110分钟
片长
简介:

Tridan Lagache 的过去是 Club Med 的生活,是 8 个工作日的改变者。 À 50 岁,我离开了墨西哥俱乐部的假期,我已经决定了,42 岁以后,儿子的伟大爱情,维奥莱特。在巴黎启航时,路易斯天真无邪,他的半个兄弟不要忽视存在。为了让 Tridan 感到尴尬,Louis 提供了征服的机会,Roxane 是 Violette que Tridan croit 侦察的首要关注者。


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简介: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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