影片的时代背景落在30年代斯大林统治下的前苏联。科托夫(尼基塔·米哈尔科夫 Nikita Mikhalkov 饰)是红军的光辉领袖,拥有殷实家底和幸福家庭,正在与妻子玛露莎(英格波佳·达库内提 Ingeborga Dapkunaite 饰)、女儿一起在别墅中度过幸福时光。不料,一名不速之客闯进了这里。当他揭开层层乔装的外物时,人们认出了他——一个失踪了十年的没落贵族米迪亚(欧列格·米契柯夫 Oleg Menshikov 饰)。米迪亚的到来犹如地狱派来的使者,随着他娓娓道来的故事,米迪亚和科托夫之间的恩怨纠结、和玛露莎之间的陈年旧情以及随着时代而扭曲的人生,都在故事中一一展开。而更为残酷的是,他带来了一个令科托夫一家陷入绝境的消息……
Like Fritz Lang, David Fincher or Bong Joon Ho before him, talented debut filmmaker Lado Kvataniya uses the concept of police detective vs serial killer for an excitingly stylised, macabre and haunting narrative, that ultimately revolves around the identity of an era: in this case, the late 1980s Soviet Union. With Glasnost and the end of communist rule, the West also learned of the (unsurprising) fact that there were serial killers in Russia too – the most notorious case probably that of Andrei Chikatilo, nicknamed the Rostov Ripper, or the Russian Hannibal Lecter. Based on these and many other sources, Kvataniya and screenwriter Olga Gorodetskaya constructed an immersive psychological puzzle, jumping back and forth in time, to reveal ever new-possible motives for the actions of all the protagonists. It all starts in 1990, when Detective Issa Davydov is celebrating his promotion and receives a call, reporting a crime that looks precisely like the ones of the serial killer that he famously captured some years before ...
影片讲述了凯和格尔达生活在一个安静舒适的小镇上,几个强大的冰怪物突然降临到这个小镇,冻结了所有的居民,但是,冰雪公主伊拉挺身而出,和伙伴们一起最终再次封印了冰怪物们,整个小镇的居民们也终于从冰冷的束缚中解放出来的故事。
艾利克斯(康斯坦丁·拉朗尼柯 Konstantin Lavronenko 饰)和妻子薇拉(玛利亚·邦妮薇 Maria Bonnevie 饰)带着孩子们来到了位于乡间的老家度假,这里闲适的生活和优美的风景安抚了一家人疲惫的心灵。 正当艾利克斯沉浸在宁静的情绪中时,薇拉告诉丈夫自己怀孕的消息,让艾利克斯震惊的是,薇拉坦陈,腹中孩子并不是艾利克斯的骨肉。在巨大的打击之下,艾利克斯找到了兄弟马克(亚历山大·巴鲁耶夫 Aleksandr Baluev 饰),向他倾吐胸中的愤懑,在两人的商讨之中,艾利克斯决定让妻子堕胎。不幸的是,薇拉死在了手术台上,艾利克斯的世界崩溃了,他的悲伤和愤怒化为了仇恨,他发誓要找到妻子的情人,让他也尝一尝和自己一样的滋味。
俄罗斯国家安全局女特工达莎(安娜斯塔西娅·扎沃洛纽克 Anastasiya Zavorotnyuk 饰),受命在恐怖组织首领扎法德的武装基地担当卧底,逐渐获得信任,得知扎法德即将实施一起全球性恐怖计划——犯罪组织已在四个人口密集的国际大都市内秘密安放了四枚遥控核弹,几乎可以破坏整个亚欧大陆。然而扎法德却突然被同伙巴特杀死,并被盗取了引爆密码。达莎又受命联络一位法国银行家路易斯(文森特·佩雷斯 Vincent Perez 饰)一同阻止阴谋。两人在追查的途中,达莎的恐怖分子身份不料引起了美国中情局的注意,跨国追查遇到重重阻碍。然而就在达莎击毙恐怖分子巴特之后,核弹危机竟然仍未解除,事态远比想象中复杂…… 本片由俄罗斯国家电影基金会投资,并获得俄罗斯军方全力支持。美国、法国、挪威、英国等多国均参与合拍,并在巴黎、佛罗伦萨、挪威、吉隆坡双子塔等地取景拍摄。
Gosha is a trucker; he delivers goods to remote Arctic parts of Yakutia. He is a monopolist and his services are expensive. His greed lures him into making a run without a backup-driver. His truck breaks down in the middle of the road. Gosha is trying to fix it when an accident occurs. Now he is face to face with ruthless Arctic wilderness and death is only one breath away.
In Skazka, Alexander Sokurov weaves digital magic to create a phantasmagorical vision of the Afterlife, worthy of Dante. But wait: are we in the limbo of Purgatory, or a paradoxical Paradise reserved for notorious men of world history? Mussolini, Stalin, Hitler, Churchill and more: all are present and accounted for. Since they exist only as archival media images, each figure comes in a serial set. In the blackest of political comedies, these fallen men beg, in turn, to be let through Heaven’s Gate – but the angels who peek through never open wide. Little wonder, as the former leaders wander listlessly, bitching (in a Babel of multiple languages) about each other’s clothes, hair and hygiene. In what is effectively a work of animation, Sokurov has pulled together many talents into an extraordinary technological feat. It blends pictorial elements from art history to form an endlessly unfolding landscape, replete with fog and ghostly armies of the sacrificed victims of history. Announced as Sokurov’s last film, Skazka is an inspired riff on the high culture of Peter Greenaway mixed with the low culture of mash-up artists Soda_Jerk. Can we now expect some entrepreneur to bring us the interactive Skazka video game?