改编自托尔斯泰《伊凡·伊里奇之死》。 　　关于导演： 　　作为塔科夫斯基最好的学生、朋友和曾主演《潜行者》的前苏联著名演员Aleksandr Kaidanovsky来说，没有人能比他更了解老塔的电影创作理念了，然而他自己的作品却始终充满着奇异的幻想、超现实主义的意境和对政治隐含的讽刺，尽管在摄影风格上依然带有明显的塔式风格，但从故事和主题上却很不同，本片就改编自托尔斯泰的名作。 　　Kaidanovsky年仅49岁死于莫斯科，是前苏联电影界的一位早逝的天才，他一生只拍摄了3部长片和一部短片，都是极其少见的先锋作品。

改编自托尔斯泰《伊凡·伊里奇之死》。 　　关于导演： 　　作为塔科夫斯基最好的学生、朋友和曾主演《潜行者》的前苏联著名演员Aleksandr Kaidanovsky来说，没有人能比他更了解老塔的电影创作理念了，然而他自己的作品却始终充满着奇异的幻想、超现实主义的意境和对政治隐含的讽刺，尽管在摄影风格上依然带有明显的塔式风格，但从故事和主题上却很不同，本片就改编自托尔斯泰的名作。 　　Kaidanovsky年仅49岁死于莫斯科，是前苏联电影界的一位早逝的天才，他一生只拍摄了3部长片和一部短片，都是极其少见的先锋作品。

Alexander Dovzhenko’s first sound film, revolving around the construction of a giant dam on the Dnieper River, is one of his greatest, though it was poorly received in the Soviet Union when it came out in 1932. It’s only one of the eccentricities of this lyrical and monumental feature that the title refers to three different characters, and it’s telling that the father of one of them, an illiterate peasant who proudly spends his time fishing and loafing while everyone else works, is treated with considerable warmth. (A sequence in which he’s frightened when addressed by an outdoor loudspeaker evokes Chaplin as well as Tati.) As in all of Dovzhenko’s best work, the style veers closer to lyrical poetry (its opening sequence about the river) and portraiture (a later segment introducing us to various workers) than to narrative, though it’s innovative in other respects as well: the final sequence includes some striking jump cuts almost 30 years before Jean-Luc Godard purportedly invented them in Breathless.

Alexander Dovzhenko’s first sound film, revolving around the construction of a giant dam on the Dnieper River, is one of his greatest, though it was poorly received in the Soviet Union when it came out in 1932. It’s only one of the eccentricities of this lyrical and monumental feature that the title refers to three different characters, and it’s telling that the father of one of them, an illiterate peasant who proudly spends his time fishing and loafing while everyone else works, is treated with considerable warmth. (A sequence in which he’s frightened when addressed by an outdoor loudspeaker evokes Chaplin as well as Tati.) As in all of Dovzhenko’s best work, the style veers closer to lyrical poetry (its opening sequence about the river) and portraiture (a later segment introducing us to various workers) than to narrative, though it’s innovative in other respects as well: the final sequence includes some striking jump cuts almost 30 years before Jean-Luc Godard purportedly invented them in Breathless.

讲述一名意大利工人在勃朗峰隧道工作所发生的惨剧。

讲述一名意大利工人在勃朗峰隧道工作所发生的惨剧。

11歲的Ivan戀愛了。 他獲選參加一場重要的足球比賽，一群孩子將與世界運動好手對打，他想藉這難得的機會，讓夢中情人對他刮目相看。

11歲的Ivan戀愛了。 他獲選參加一場重要的足球比賽，一群孩子將與世界運動好手對打，他想藉這難得的機會，讓夢中情人對他刮目相看。

Ivan is a young Russian vagrant in Paris. Rejected by all, he takes refuge in the woods of Vincennes. But this new haven of peace turns into a nightmare when Ivan tries to resist the traffic of an underworld wildlife.

Ivan is a young Russian vagrant in Paris. Rejected by all, he takes refuge in the woods of Vincennes. But this new haven of peace turns into a nightmare when Ivan tries to resist the traffic of an underworld wildlife.