人间小喷泉1V2

中方：美方应停止极限施压胡作非为，中国从来不吃这一套

18名西藏患儿在宁成功接受手术

世说新语｜“锈带”变“秀带”，用创意激活城市更新

莒南县第八小学开展“情暖立冬，趣享传统”主题系列活动

补钙不再便秘卡喉 Mom’s Garden任我行液体钙获99%用户舒适认证

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.

美国的摩托车上挂得最多的是杭州产铃铛

莒南县道口镇：小学生笔下的乡土画卷，藏着最动人的家乡情

“一切为了人民” 报告文学《公仆榜样》首发