片名:《拉莉薩》

類型:劇情片

上映時間:1980

上映地區:其它

導演:依萊姆·克里莫夫

主演:依萊姆·克里莫夫,Valentin,Rasputin,Stefaniya,Stanyuta

集數: 更新至0集

語言:其它

【同輝影院】分享劇情片拉莉薩全集在線免費觀看高清720P播放地址，拉莉薩講述了一個普通而不平凡的故事，由拉莉薩的演員依萊姆·克里莫夫,Valentin,Rasputin,Stefaniya,Stanyuta實力演繹，不管是微表情還是表演動作上，把角色都塑造得非常成功，每個角色都有自己鮮明的個性，讓觀眾們能夠更好地融入到劇情之中。拉莉薩是1980年上映，非常好看的電影。

《拉莉薩》觀后點評：電影拉莉薩真是太好看了！拉莉薩劇情緊湊扣人心弦，每一個轉折都讓人捧腹大笑，同時又讓人熱淚盈眶；拉莉薩的音樂選材旋律優美，不僅完美地融入到劇情當中，還增加了劇情片拉莉薩的劇情氛圍，絕對值得一看。

《拉莉薩》抖音網友點評：拉莉薩的臺詞設計非常精彩，讓觀眾印象深刻；拉莉薩的演員依萊姆·克里莫夫,Valentin,Rasputin,Stefaniya,Stanyuta個個演技精湛，從對劇情的精準把握到表情和動作的發揮上，都契合了拉莉薩的故事主題，既滿足了觀眾們對于劇情的期待，又給人留下了思考的空間。是1980年值得一看的電影。

拉莉薩講述了：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.