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偷走她的呼吸
2024 7.0分 剧情片
  神偷劳拉面临职业生涯最后的挑战,然而在这一场危险的 “猫鼠游戏 ”里,她遇到了让她激情难抑的女警察玛克辛。(華堅馮力士)
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窒息的阳光
2015 9.0分 剧情片
  珍妮刚刚从暴力引起的精神崩溃中恢复过来,她每天都要经历一整套奇怪的全身检查,并在保姆和看守的强迫下并执行一系列复健计划。当珍妮对一个年轻女孩着魔后,她渐渐偏离了康复道路。与年轻女孩之间的联系让珍妮感到十分熟悉,她在这段关系中越陷越深,并最终引发了可怕的灾难。
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猎人小屋2016
2016 10.0分 剧情片
一名退伍军人发现了他过去在一个偏远的岛旅馆葬礼上的背叛,谋杀和鬼魂。心理惊悚片。
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薄化妆
1985 6.0分 剧情片
  古田求编剧的这部凶杀影片,以令人发指的剧情描述了主人公的丧尽天良,看来令人不寒而栗,也让人对生命的意义有所思索。故事背景自1948年一宗矿坑坍塌展开,矿工坂根代表20名死者家属与老板谈判赔偿,可是却昧着良心收受一大笔贿赂而发财。他垂涎一位矿工的遗孀照子,并把知悉情况的妻子杀死埋于地下,还假称妻子与人私奔失踪。他把照子带回家中,因儿子极力反对,又以带儿子找妈妈为名,把儿子骗到山上杀死。当照子生..
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剩下的一件事
2017 10.0分 剧情片
迈克尔因未婚夫的死亡而无法接受他的未婚夫去世,因此逃到了南非,以实现他的蜜月。在那里,他会见了罗西疏远的姐姐夏天。她不需要和不请自来,在最后一次与家人建立联系的努力中,迫使自己迈克尔迈克尔的自我毁灭之行。如果您失去了自己所爱的人,您会在没有他们的情况下恢复和生活。...还是选择不这样做?
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去处不遥远
2024 10.0分 剧情片
  围绕着一个独特的故事,讲述因财务问题而运送一具尸体,以及当人道主义关怀超越自私自利时所引发的问题。
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《拉莉萨》剧情介绍

金海剧场提供影视作品拉莉萨高清全集在线观看的影视全集网,剧情片《拉莉萨》全集作品的导演是依莱姆·克里莫夫   ,由依莱姆·克里莫夫  Valentin Rasputin  Stefaniya Stanyuta  主演,拉莉萨在豆瓣的评分为8.0,本片由小编于2024-11-10 03:13更新,希望大家喜欢,可以把《拉莉萨》推荐给你朋友,本作品的地址为 https://www.jinhaiju.com/movie/index25734.html

《拉莉萨》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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