备注:已完结
类型:剧情片
导演:Grigori Aronov Aleksei German
语言:其它
年代:未知
简介: The Seventh Companion (Russian: Седьмой спутник, translit. Sedmoy Sputnik) is a 1967 black-and-white Soviet film set in St. Petersburg in the years following the Russian Revolution; its title is commonly translated as The Seventh Companion. The film marked the directorial debut of Russian director Aleksei German, who co-directed it with Grigori Aronov. The film is based on a novel by Boris Lavrenyov.
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类型:伦理片
语言:俄语
年代:未知
简介:别名:Mne ne bolno nbsp;网友求片类型,相信一定有独特的看点。该片讲述的是俄罗斯现代都市的生活和爱情。一些年轻的居民圣彼得堡 - 思维敏捷和英俊的设计师米莎,词汇挑战建筑师ALYA和可靠的前空降奥列格 - 做起了生意装饰的内饰,同时分享一个典型的皮特半蹲。米莎开始约会他们的客户塔塔,一个迷人的和古怪的女人,谁首先出现在一个富裕的人是养尊处优的情妇。从那里,一个浪漫的故事展开,承担相似雷马克的;三位同志其中友谊,幽默,爱情和痛苦的创建生动的化学反应。所有的人物是不同的,可爱的,在大多数情况下在自己的权利(除了他们豪饮所有的时间!)。这部电影提出了一个观点在社会和挥发性年轻人的生活在俄罗斯的最美妙的城市之一。从莫斯科,俄罗斯----21MHZ
备注:已完结
类型:剧情片
主演:弗拉迪米尔·梅尔亚诺夫 格奥尔吉·尤玛托夫 Mikhail Pokot
导演:Aleksei Maslyukov Mechislava Mayevskaya
语言:俄语
年代:未知
简介:根据马卡连柯《教育诗》改编。安·谢·马卡连柯(1888-1939)是苏联早期著名的教育实践活动家和富于创新精神的教育理论家。出生于乌克兰共和国别洛波里城一个工人的家庭。17岁开始当小学教师。十月革命胜利后,马卡连柯主要从事对流浪儿和少年违法者的教育改造工作。1920年,他被委派组织一所“少年违法者工学团”。马卡连柯大胆进行教育实践,积极探索新的教育规律,经过艰苦的工作,使数百名犯罪儿童成长为新人。1922年,工学团改称“高尔基工学团”。1927年,他离开了工学团,组织并领导了同一性质的“捷尔任斯基儿童劳动公社”。他进一步发展了工学团的经验,创造了在集体中把教学与现代工业生产相结合的教育形式。他在工学团的教育和公社的实践中,把三千多名走入歧途的青少年改造成为具有共产主义觉悟和一定知识技能的社会主义建设人才和先进人物,引起了国内外广泛的注意。1935年以后,马卡连柯主要进行教育理论的总结、研究与宣传工作。其主要著作有《教育诗》、《塔上旗》、《父母必读》等。
备注:已完结
类型:剧情片
主演:Aleksei Devotchenko Oleg Fyodorov A
语言:德语
年代:未知
简介:"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.