Twenty-year-old Elya is a student and a future ecologist. One day, Matvey, the head of a construction company, comes to her university to talk about a development plan on the site of an old forest park. Elya does not hesitate to smash his project to smithereens. Matvey is intrigued by the girl's self-confidence and uses his usual methods of influence - he simply tries to "buy" her. But Elya doesn't need a sponsor. Then Matvey, surprised by her impregnability, offers Elya a bet: seven romantic days according to his rules. If after that the girl still decides to leave, he will refuse to build a skyscraper in the forest park. She agrees when Matvey really suspends the design work. Elya sees herself as something like the heroine of the film Pretty Woman, but Matvey turns out to be not at all the person she imagined.
Moscow, 1902. The famous director Konstantin Stanislavsky, in search of inspiration for staging a new play, decides to get acquainted with the life of the city "bottom". He turns to Vladimir Gilyarovsky, a recognized expert on the Moscow slums, for help. Together they go to the legendary bandit Khitrovka and find themselves embroiled in the investigation of the murder of a mysterious local resident - an Indian Sikh with a dark past.
影片是根据谢尔盖·卢科扬涅科的三部曲中的第二部《守日人》改编。 故事发生在上一集叶戈尔(德米特里·马丁诺夫 Dmitry Martynov 饰)归入黑暗阵营几年之后,安东(康斯坦丁·哈宾斯基 Konstantin Khabenskiy 饰)与其新女友兼徒弟斯维塔担当光明阵营力量的同时,叶戈尔也在逐渐成长为黑暗阵营中一名拥有强大力量的少年,并受到父亲安东暗中的保护。直到黑暗阵营中一名吸血鬼的离奇死亡,打破了光明与黑暗之间的微妙平衡,安东更被诬陷为凶手。审判庭裁定如果在期限之内无法证明安东不是凶手,光明和黑暗两大阵营之间的大战将一触即发。为此,安东开始寻找古代传说中那能改变命运的神器——命运粉笔,来挽回这摇摇欲坠的世界……
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。
剧情简介: 1995年格罗兹尼之战,激烈的巷战有如当年的斯大林格勒,俄车双方死伤惨重,就连美国军方也惊叹"打不起这样的城市战”。 典型的低成本影片,这是俄罗斯人自己拍的关于第一次车臣战争的电影。讲述了俄军一座野战医院惨遭车臣恐怖分子袭击的故事。摄影师用写实手法,刻意拍摄了许多以往战争题材片所未描绘过的惨烈场景。车臣雇佣军把俄军士兵的头割下来,挂在火箭弹上射向对方;俄军坦克手奉命把战友们的遗体碾碎。这里没有《Black Howk Down》里"Leave no one behind”式的宣言,只有呛人的硝烟、无限的仇恨以及苦涩的胜利。老实说,如果本片有美国大片那样的资金撑腰,绝对可以成就一番票房,至少也决不会1997的片子至今也默默无闻。可现实就是现实,虽然是模糊的画面、单调的机位、幼稚的音效以及少得可怜的特技,但这些丝毫不能阻止本片向我们展现一场血淋淋、赤裸裸,充满死亡与歇斯底里的车臣战争。这里没有攻克冬宫一样豪迈的冲锋,却有坦克碾压着战友的尸体迂回前进;没有马恩列斯光辉思想的指导,却有两个专打男人下身的变态的匪帮女狙击手……本片颠覆了太多东西,又塑造了太多东西。
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 ...
轰趴狂嗨电音摇头,听来不过是轻狂少年消磨时光的常见公式,拆解后却是伤痕累累的真实情感。酸,是识透愁滋味的废青宣言,是不顾一切的自毁前程。他们没有不变友情、甜蜜家庭、纯洁初夜、美好未来;他们被正能量好好地抛弃隔绝在另一个充斥着家庭、友谊、爱情和机遇等概念的世界里。游离在不见天日的迷幻现实之中,他们吞噬青春,用最狂 暴的方式敲开虚假,洞见千禧新世代的生命曙光。为了寻找问题的答案,他们像腐蚀周围世界的化学物质一样吞噬自己,为了最终学会不听而听,不看而看。找到他们的路。 <Acid>是二十岁一代的无声宣言。本片是初执导筒的俄国男星亚历山大葛奇林(Aleksandr Gorchilin)长片首作。挑衅满满的镜头语言,爆发独有的生猛力道,光荣入围柏林影展泰迪熊奖!