剧情：This is a romantic film that pays tribute to Russian filmmaker Larissa Shepetko, who died in a car accident in 1979 at the age of 40. This documentary, shot by her husband Elem Klimov, excerpts all of Shepitko's films, allowing her own voice to be heard discussing her life and art. Elem Klimav's heartbroken elegy "Larisa" examines the life of his late wife and film director Larisa Shepitko through a series of direct interviews and photo montages, amidst a sorrowful visual music background. Normally, Krimov shoots his subjects (including himself and several collaborators of Shepetko) in a desolate and snow covered forest. The intricate tree network in the forest symbolizes a kind of pain that may not be expressed, which is the result of Shepetko's premature death when shooting the novella Farewell to Martyra adapted from Valentine Rasputin. Interleaving family movie clips with those from Shepitko's works (Maya Bulgakova's contemplative memories of the plane crash in Wings resonate several new layers in this context), Larissa's most powerful paragraph is its first: accompanied by Shepitko's grand final musical reminder in You and I, Klimov incorporates a series of personal photos that cover the entire life of Larissa, from birth to death. This brief symphony of sadness heralds the climax of the reversal of venting in Krimov's "Come, Watch", although Krimov seems to oppose venting by placing the scene first in Larissa's chronology. The pain was clearly fresh, and the wound was still ulcerating. What Krimov wanted most to capture was how deep the painful knife had cut.
This is a romantic film that pays tribute to Russian filmmaker Larissa Shepetko, who died in a car accident in 1979 at the age of 40. This documentary, shot by her husband Elem Klimov, excerpts all of Shepitko's films, allowing her own voice to be heard discussing her life and art. Elem Klimav's heartbroken elegy "Larisa" examines the life of his late wife and film director Larisa Shepitko through a series of direct interviews and photo montages, amidst a sorrowful visual music background. Normally, Krimov shoots his subjects (including himself and several collaborators of Shepetko) in a desolate and snow covered forest. The intricate tree network in the forest symbolizes a kind of pain that may not be expressed, which is the result of Shepetko's premature death when shooting the novella Farewell to Martyra adapted from Valentine Rasputin. Interleaving family movie clips with those from Shepitko's works (Maya Bulgakova's contemplative memories of the plane crash in Wings resonate several new layers in this context), Larissa's most powerful paragraph is its first: accompanied by Shepitko's grand final musical reminder in You and I, Klimov incorporates a series of personal photos that cover the entire life of Larissa, from birth to death. This brief symphony of sadness heralds the climax of the reversal of venting in Krimov's "Come, Watch", although Krimov seems to oppose venting by placing the scene first in Larissa's chronology. The pain was clearly fresh, and the wound was still ulcerating. What Krimov wanted most to capture was how deep the painful knife had cut.展开
