A marshal tries to bring the son of an old friend, an autocratic cattle baron, to justice for his role in the rape and murder of the marshal's Native American wife.

A marshal tries to bring the son of an old friend, an autocratic cattle baron, to justice for his role in the rape and murder of the marshal's Native American wife.

"Aleksei Gherman junior’s film The Last Train premiered in Moscow in mid December during the film festival Stalker, which also awarded it the prize for the best film. However, its first screening had already taken place in the ‘controcorrente’ competition of the Venice Film Festival in September. The film, dealing with theme of war and shot in black and white, remained unnoticed by the press in the context of the Venice Film Festival (preoccupied almost exclusively with Zviagintsev’s The Return), although it was awarded a prize. In Moscow, it made rather a different impression, especially when set in the context of films dealing with human rights issues. 　　Gherman’s film is, in a sense, a response to his father’s war film 20 Days without War. Maybe this explains the oddity of a young, clearly talented director venturing on his debut film into the trodden territories of the war film, a theme that dominated Russian cinema in general, but had also been dealt with by his father. For Gherman Junior, however, war knows neither winners nor losers: instead of exploring the history of WWII, Gherman looks at the fate of two men who have failed to make the right choice (or a choice) at the right time. Therefore, they are now the victims of circumstances, of politics, of regimes – which they have or have not elected. Gherman’s concern is with people in particular circumstances, which are not their choice, and how they cope with these unwanted situations.

"Aleksei Gherman junior’s film The Last Train premiered in Moscow in mid December during the film festival Stalker, which also awarded it the prize for the best film. However, its first screening had already taken place in the ‘controcorrente’ competition of the Venice Film Festival in September. The film, dealing with theme of war and shot in black and white, remained unnoticed by the press in the context of the Venice Film Festival (preoccupied almost exclusively with Zviagintsev’s The Return), although it was awarded a prize. In Moscow, it made rather a different impression, especially when set in the context of films dealing with human rights issues. 　　Gherman’s film is, in a sense, a response to his father’s war film 20 Days without War. Maybe this explains the oddity of a young, clearly talented director venturing on his debut film into the trodden territories of the war film, a theme that dominated Russian cinema in general, but had also been dealt with by his father. For Gherman Junior, however, war knows neither winners nor losers: instead of exploring the history of WWII, Gherman looks at the fate of two men who have failed to make the right choice (or a choice) at the right time. Therefore, they are now the victims of circumstances, of politics, of regimes – which they have or have not elected. Gherman’s concern is with people in particular circumstances, which are not their choice, and how they cope with these unwanted situations.

一群具有狭隘的爱国主义的老年人为了捍卫国家的荣誉，私自将即将出口到好莱坞的古董火车头开出示威。他们希望这一壮举能唤醒乌拉圭人民，但是他们只有三…

在第二次世界大战中，德俄开战，在战争的紧要关头，俄军接到斯大林的命令，要夺下得军占领的一座铁桥，为此俄军付出了惨烈的牺牲，最后获得了胜利。

在第二次世界大战中，德俄开战，在战争的紧要关头，俄军接到斯大林的命令，要夺下得军占领的一座铁桥，为此俄军付出了惨烈的牺牲，最后获得了胜利。

施老头的儿子是一家建筑公司的经理，事业发达、生活富裕，却不能使老父享受天伦之乐。施老头因孤独而常离家外出。儿子雇了个保镖暗中保护他。一次，在淡水线最后一班列车上，老人与少年黄瑞相遇。黄瑞的父亲是个小职员，因儿子厌倦读书、经常逃学而嫌弃他。两人相识之后，施老头常在车上找黄瑞。他们甩掉保镖，结伴而行。老人带黄瑞喝老人茶、洗温泉浴、祭奠早已过世的妻子。在梅春茶室，老人与年轻时的情人聊天， 黄瑞认识了卖唱片的少女。在老人的引导下，黄瑞目睹了下层社会的种种生活，开始对父亲在夹缝中求生存的处境有所理解。为了排遣施老头的寂寞，黄瑞也带他去参加年轻人多姿多彩的生活。他们参加放鸽子比赛，在海边放风筝，骑协力车，偷流氓店里的东西。两人的交情日益加深，终成忘年之交。经过一连串的事情，黄瑞得到了父亲的理解，而老人回家后，仍因得不到真正的关心而不时出走。

施老头的儿子是一家建筑公司的经理，事业发达、生活富裕，却不能使老父享受天伦之乐。施老头因孤独而常离家外出。儿子雇了个保镖暗中保护他。一次，在淡水线最后一班列车上，老人与少年黄瑞相遇。黄瑞的父亲是个小职员，因儿子厌倦读书、经常逃学而嫌弃他。两人相识之后，施老头常在车上找黄瑞。他们甩掉保镖，结伴而行。老人带黄瑞喝老人茶、洗温泉浴、祭奠早已过世的妻子。在梅春茶室，老人与年轻时的情人聊天， 黄瑞认识了卖唱片的少女。在老人的引导下，黄瑞目睹了下层社会的种种生活，开始对父亲在夹缝中求生存的处境有所理解。为了排遣施老头的寂寞，黄瑞也带他去参加年轻人多姿多彩的生活。他们参加放鸽子比赛，在海边放风筝，骑协力车，偷流氓店里的东西。两人的交情日益加深，终成忘年之交。经过一连串的事情，黄瑞得到了父亲的理解，而老人回家后，仍因得不到真正的关心而不时出走。

可怜的上班族没有注意到列车已经更改路线，他请求列车能够中途停靠，好让他及时赶到公司，好心的司机决定帮助他，可是……