35
4.0

海盗电台

导演:
理查德·柯蒂斯
主演:
比尔·奈伊,肯尼思·布拉纳,菲利普·塞默·霍夫曼,尼克·弗罗斯特,汤姆·斯图里奇,瑞斯·伊凡斯,瑞斯·达比,克里斯·奥多德,妲露拉·莱莉,凯瑟琳·帕金森,杰克·达文波特
别名:
未知
4.0
35人评分
英语
语言
2009-04-01
上映时间
116分钟
片长
简介:

1966年,大西洋北海上漂浮着的一艘船,是深受不列颠听众喜爱的摇滚电台的大本营。因吸毒而退学的 Carl(汤姆·斯图里奇 Tom Sturridge 饰)被母亲 Charlotte(艾玛·汤普森 Emma Thompson 饰)送到这里,认识了 Quentin(比尔·奈伊 Bill Nighy 饰)、The Count(菲利普·塞默·霍夫曼 Philip Seymour Hoffman 饰)、Dave(尼克·弗罗斯特 Nick Frost 饰)等热爱音乐崇尚自由的人。另一方面,政府高官 Sir Alistair Dormandy(肯尼思·布拉纳 Kenneth Branagh 饰)决定设法取缔非法电台。随着政府向电台的赞助商施压,电台的收入持续降低。此时,出国两年现已享有国际盛誉的 Gavin(瑞斯·伊凡斯 Rhys Ifans 饰)决定海归,解决了电台的难题。可是,因为 Gavin 的回归,电台内部出现了一些新的问题……

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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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