Zvenigora is, in terms of narrative and content, one of the most remarkable avant-garde films of an exuberantly experimental period. The film uses the central construct of a legend regarding treasure buried in Mount Zvenigora to build a montage of scenes praising Ukrainian industrialisation, attacking the European bourgeoisie, celebrating the beauty of the Ukrainian steppe and re-telling ancient myths. 　　The narrative is built upon Modernist lines, disregarding the traditional, novelistic storytelling techniques and instead using abrupt shifts in time and using the constructive devices of avant-garde poets such as Blok, Bely and Mayakovsky to create a picture of modern Ukraine that pushes in several directions at once. 　　There are some incredibly striking tableaux that require the viewers to create a structure for themselves (such as the Bolshevik soldier directing his own execution) although the climax does draw the preceding events together, combining the dialectical threads of modern industry and the old man's myth together in two exhilarating scenes. 　　The cinematography is fascinating - elements of the style of Eisenstein, Pudovkin, Protazanov and Kuleshov are recognisable, yet Zvenigora seems completely different to any of them. The juxtaposition of rapid montages, swift city tours and slow, poetic journeys around the countryside is powerful, and the mythical scenes, although winding, are beautifully realised with a dreamlike quality to them. 　　Zvenigora is not Dovzhenko's masterpiece, if only because his Earth (1930) is one of the greatest Russian films ever made. However, it is highly recommended, although if you are new to Russian film of the period it is probably not the best place to start.

Zvenigora is, in terms of narrative and content, one of the most remarkable avant-garde films of an exuberantly experimental period. The film uses the central construct of a legend regarding treasure buried in Mount Zvenigora to build a montage of scenes praising Ukrainian industrialisation, attacking the European bourgeoisie, celebrating the beauty of the Ukrainian steppe and re-telling ancient myths. 　　The narrative is built upon Modernist lines, disregarding the traditional, novelistic storytelling techniques and instead using abrupt shifts in time and using the constructive devices of avant-garde poets such as Blok, Bely and Mayakovsky to create a picture of modern Ukraine that pushes in several directions at once. 　　There are some incredibly striking tableaux that require the viewers to create a structure for themselves (such as the Bolshevik soldier directing his own execution) although the climax does draw the preceding events together, combining the dialectical threads of modern industry and the old man's myth together in two exhilarating scenes. 　　The cinematography is fascinating - elements of the style of Eisenstein, Pudovkin, Protazanov and Kuleshov are recognisable, yet Zvenigora seems completely different to any of them. The juxtaposition of rapid montages, swift city tours and slow, poetic journeys around the countryside is powerful, and the mythical scenes, although winding, are beautifully realised with a dreamlike quality to them. 　　Zvenigora is not Dovzhenko's masterpiece, if only because his Earth (1930) is one of the greatest Russian films ever made. However, it is highly recommended, although if you are new to Russian film of the period it is probably not the best place to start.

一名舞者决心要将传统的邦拉舞搬上世界舞台，并准备与另一名有着自己梦想的竞争对手进行一场国际比赛。

一名舞者决心要将传统的邦拉舞搬上世界舞台，并准备与另一名有着自己梦想的竞争对手进行一场国际比赛。

“杀人狂丽兹·波顿”故事将再现银幕，克里斯汀·斯图尔特、科洛·塞维尼有望加盟。1892年，波顿涉嫌杀害父亲与继母，却因柔弱形象与缺乏证据获无罪释放，引发争议。

“杀人狂丽兹·波顿”故事将再现银幕，克里斯汀·斯图尔特、科洛·塞维尼有望加盟。1892年，波顿涉嫌杀害父亲与继母，却因柔弱形象与缺乏证据获无罪释放，引发争议。

演员没有孔维一，我提供那版是按照片尾字幕来的。

演员没有孔维一，我提供那版是按照片尾字幕来的。

Lizzie, a young woman with amnesia, slowly comes to realise that she may have been responsible for the horrific murder of her parents. After returning to the family home, Lizzie has terrifying flashbacks to her childhood, and comes face to face with the true horrors of her past. 　　Lizzie Borden took an axe 　　And gave her mother forty whacks. 　　When she saw what she had done 　　She gave her father forty-one. On August 4th 1892, Andrew Jackson Borden and Abby Durfee Borden were brutally murdered with an old household hatchet. The blows of the murder weapon were so violent and numerous that their faces and skulls were unrecognizably disfigured. Although acquitted, it is common knowledge that the daughter, Lizzie Borden, is responsible for the savage evil act. 　　The present day Lizzie Allen suffers from an extreme case of childhood amnesia which not only lays dark her childhood memories but also her relationship or lack there of, of her parents themselves. When Lizzie discovers the news of her father's death she inherits the house she once lived in...and therefore a new place to live. But as she begins to settle in she starts to get a glimpse of her childhood memories along with clues as to what really happened in the Borden household in 1892. We follow Lizzie's journey as she attempts to distinguish between the two and strives to reach her own sanity and happiness while doing so

Lizzie, a young woman with amnesia, slowly comes to realise that she may have been responsible for the horrific murder of her parents. After returning to the family home, Lizzie has terrifying flashbacks to her childhood, and comes face to face with the true horrors of her past. 　　Lizzie Borden took an axe 　　And gave her mother forty whacks. 　　When she saw what she had done 　　She gave her father forty-one. On August 4th 1892, Andrew Jackson Borden and Abby Durfee Borden were brutally murdered with an old household hatchet. The blows of the murder weapon were so violent and numerous that their faces and skulls were unrecognizably disfigured. Although acquitted, it is common knowledge that the daughter, Lizzie Borden, is responsible for the savage evil act. 　　The present day Lizzie Allen suffers from an extreme case of childhood amnesia which not only lays dark her childhood memories but also her relationship or lack there of, of her parents themselves. When Lizzie discovers the news of her father's death she inherits the house she once lived in...and therefore a new place to live. But as she begins to settle in she starts to get a glimpse of her childhood memories along with clues as to what really happened in the Borden household in 1892. We follow Lizzie's journey as she attempts to distinguish between the two and strives to reach her own sanity and happiness while doing so