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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:科幻片
主演:Arvin Kananian 艾米莉·强森 Jamil Drissi
语言:其它
年代:未知
简介: 阿尼亚拉是众多宇宙飞船中的一艘,用于将地球人口运送到他们的新家园火星。但就在安妮亚拉离开被毁坏的地球时,她与一颗小行星相撞,并被击落。安妮亚拉的乘客慢慢意识到,他们永远也回不去了;他们将永远在一个空旷寒冷的宇宙中继续前行。瑞典诺贝尔奖得主哈里·马丁森在1956年写了《安妮拉》。这部小说被翻译成多种语言,包括丹麦语、芬兰语、英语、俄语、捷克语、阿拉伯语、日语和最近的中文。它曾作为歌剧和几部戏剧作品上演,但从未被拍摄过。在安尼亚拉走向毁灭的无情旅程中,有一个警告是不够强调的。只有一个地球。我们只有一次生命。因此,我们必须对自己的行为负责,不断地保护我们的环境和人类。如果我们不这样做,地球很快就会变成。。。
备注:已完结
类型:剧情片
主演:Arvin Kananian Emelie Jonsson Jamil
语言:瑞典语
年代:未知
简介:Aniara is the story of one of the many spaceships used for transporting Earth's population to their new home-planet Mars. But just as Aniara leaves the ruined Earth, she collides with an asteroid and is knocked off her course. Aniara's passengers slowly realize that they'll never be able to return; they will continue onwards through an empty and cold universe forever. The Swedish Nobel prize winner Harry Martinsson wrote Aniara in 1956. The novel has been translated into a number of different languages, including danish, finnish, english, russian, czech, arabic, japanese and most recently chinese. It has been staged as opera and several theatrical productions, but has never before been filmed. In Aniara's inexorable journey towards destruction there is a warning that cannot be emphasized enough. There's only one Earth. We have only one life. So, we have to take responsibility for our actions and constantly guard our environment and our humanity. If we don't, Earth will soon be a ...
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.