首页电视剧电影动漫综艺微电影明星剧情演员直播角色口水专题榜单最新
玩具总动员3动画片调音师(短片)剧情片快把我哥带走电影版喜剧片天下无双2002喜剧片丑女大翻身喜剧片柒个我国产剧上海日记香港剧光明之心~幸福的面包~动作片天子骄龙动画片双世宠妃国产剧乡村爱情9/乡村爱情进行曲国产剧伊甸湖科幻片
"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.