班长哭着不能再抠了

2013年，犹他州联邦法院裁定同性婚姻合法，同婚禁令违宪，这项惊人的判决掀起了当地意识形态的激烈争辩。在犹他州，有七成以上的人口是摩门教徒，而摩门教义也深入当地居民的日常生活，同性婚姻的合法化无疑掀起

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邯郸冀南新区推动高端产业集聚发展

老奶奶玩了21年《最终幻想》 去世后走红被多人悼念

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一见·历史交汇点，展望习主席俄罗斯之行

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.

何以中国·越山向海踏千澜 宁夏吴忠：一碗茶香里的文化传承