利莫諾夫：埃迪的歌謠 Limonov: The Ballad (2024)

★ 0.6 播放：48萬(wàn) 更新：2026-04-27

影片由基里爾·謝列布連尼科夫（《彼得羅夫的流感》《盛夏》）執(zhí)導(dǎo)，帕維烏·帕夫利科夫斯基（《修女艾達(dá)》《冷戰(zhàn)》）編劇，根據(jù)法國(guó)作家埃馬努埃萊·卡雷爾撰寫，描繪俄羅斯激進(jìn)詩(shī)人、持不同政見(jiàn)者愛(ài)德華·利莫諾夫的傳記小說(shuō)改編。小說(shuō)有著這樣一段描述，“激進(jìn)蘇聯(lián)詩(shī)人的駭人冒險(xiǎn)：一個(gè)紐約的流浪漢、一個(gè)引起法蘭西轟動(dòng)的人、一個(gè)俄羅斯的政治人物”。 利莫諾夫個(gè)人生活極富傳奇色彩，在曼哈頓他是富豪的管家，在巴黎他是作家，在俄羅斯他則是布爾什維克黨的政黨領(lǐng)袖。影片對(duì)白語(yǔ)言會(huì)根據(jù)拍攝地俄羅斯、紐約、巴黎的變換而對(duì)應(yīng)轉(zhuǎn)變。

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劇情簡(jiǎn)介

影片由基里爾·謝列布連尼科夫（《彼得羅夫的流感》《盛夏》）執(zhí)導(dǎo)，帕維烏·帕夫利科夫斯基（《修女艾達(dá)》《冷戰(zhàn)》）編劇，根據(jù)法國(guó)作家埃馬努埃萊·卡雷爾撰寫，描繪俄羅斯激進(jìn)詩(shī)人、持不同政見(jiàn)者愛(ài)德華·利莫諾夫的傳記小說(shuō)改編。小說(shuō)有著這樣一段描述，“激進(jìn)蘇聯(lián)詩(shī)人的駭人冒險(xiǎn)：一個(gè)紐約的流浪漢、一個(gè)引起法蘭西轟動(dòng)的人、一個(gè)俄羅斯的政治人物”。 利莫諾夫個(gè)人生活極富傳奇色彩，在曼哈頓他是富豪的管家，在巴黎他是作家，在俄羅斯他則是布爾什維克黨的政黨領(lǐng)袖。影片對(duì)白語(yǔ)言會(huì)根據(jù)拍攝地俄羅斯、紐約、巴黎的變換而對(duì)應(yīng)轉(zhuǎn)變。

導(dǎo)演精選

抱得美人歸

　　在二次世界大戰(zhàn)后，即將結(jié)婚的花花公子開(kāi)車到賭城作最后一次尋歡，不料邂逅了美麗的女歌手，并發(fā)現(xiàn)了她是賭城大亨巴格西的情婦。他該回到自己的規(guī)律生活中，還是繼續(xù)追求這段冒險(xiǎn)的愛(ài)情呢？名編劇家尼爾賽門由自己的愛(ài)情經(jīng)歷創(chuàng)作出本片，對(duì)男女之間的感情游戲有深刻的體會(huì)，所以劇情雖然簡(jiǎn)單，趣味性倒不弱。亞歷克．鮑德溫和金．貝辛格因拍攝本片而牽上紅線，可見(jiàn)其演出投入。此外，金．貝辛格親自主唱片中歌曲，頗有幾分性感歌星的架勢(shì)。

等待方舟

　　Set in an underground dungeon inhabited by bundled, ragged human beings, after the nuclear holocaust. The story follows the wanderings of a hero through the situations of survival. People wait for the Ark to arrive and rescue them while their habitat falls apart.　　Delving deep into the dusty and long abandonded vaults of b-cinema in search of lost gems always leaves me with a bittersweet taste. On one hand the discovery of unexpected gems where no one would think them possible is a rewarding experience. On the other hand though it makes one wonder how many of these remarkable low-budget oddities, personal love affairs of directors never quite famous and now all but forgotten, have almost forever slipped from memory?　　n any case what we have here is a little post-apocalyptic gem from Poland that is really better than it has any right to. The dystopian near future of O-BI, O-BA finds a group of survivors of the nuclear war that ravaged the Earth inhabiting an underworld concrete bunker and biding their time as they wait for the mysterious Ark, an air ship of some kind that will come and save them. The Ark proves to be an elaborate hoax, carefully designed to give hope to the malnourished and desperate denizens of the bunker, while in the meantime the dome that separates their miserable existence from the nuclear winter outside is slowly caving in.　　What first striked me about the movie is the design of the bunker and the depiction of the survivors. The survivors are gaunt, filthy and terrible-looking penitents, dressed in rags and aimlessly wandering the neon-lit halls of the bunker like automatons. The bunker is a rundown, seedy place, with bright neon lights peering from all sides like the eyes of malignant beasts.　　On one hand it is a slightly 80's depiction of the dystopian future but the movie never stoops down to MAD MAX cheese. Instead it combines biting political satire with the bleak outlook of a world with no future, black comedy with barbs on apathy, religion and power. The survivors, for example, are fed some kind of flour dropping from a tube that hovers in the air - later on we discover the food supervisor uses books and the Bible itself as filler for this meagre meal. There are many such short symbolic touches, perhaps not life-changing or faith-restoring, yet playful, clever and inspired.　　One thing is for sure; O-BI, O-BA is not your run-of-the-mill sci-fi schlock. It overcomes its modest budget with creativity and has genuine artistic aspirations both from a writing and directing perspective. My opinion is that it should have been filmed in black and white instead of colour though. The director uses atmospheric light and shadow to great effect and it would have registered even better in stark black and white. The blue-green neon on the other hand outstays its welcome after a while. Just a minor gripe in an otherwise solid b-movie with its heart set in all the right places.　　Imagine a less bleak THE ROAD (Cormac McCarthy) being injected with the satire and humour of DR.STRANGELOVE and you're getting there. See it if you can find it.

春娥

 在通往村東頭的一條田間小路上，剛從縣城回來(lái)的侯家二小子侯保見(jiàn)把自行車騎得飛快?？斓酱蹇跁r(shí)，保見(jiàn)順便看了一眼在瓜地看瓜的木倉(cāng)大叔后，急不可待地來(lái)到春娥家，擁吻著春娥就往里屋走。自從正月十五看花燈時(shí)和春娥好上后，在縣城幫老大看飯館的保見(jiàn)就像丟了魂似地隔三差五就往家里跑。春娥是個(gè)命苦的女人。結(jié)婚不到二年，丈夫就死了，兒子馬駒都快五歲還不會(huì)說(shuō)話。丈夫死后，漂亮賢惠的春娥里里外外一把手，既操持著家務(wù)，還把老公公木倉(cāng)爹侍侯得就如同自己的親爹一樣。木倉(cāng)大叔也是一個(gè)通情達(dá)里的人。兒子死后，木倉(cāng)大叔就搬出門，帶著不會(huì)說(shuō)話的小孫子馬駒，一心撲在村頭的瓜地里。其實(shí)，木倉(cāng)大叔這樣做也有他另一層心思，那就是木倉(cāng)大叔理解作為一個(gè)女人的苦。畢竟紙里包不住火。保見(jiàn)來(lái)的次數(shù)多了，從家里跑到瓜地的看家狗“利來(lái)”的異常引起了木倉(cāng)大叔的警覺(jué)。終于，春娥和保見(jiàn)的事被木倉(cāng)大叔發(fā)現(xiàn)。這種事要放在別人肯定不會(huì)輕饒，但木倉(cāng)大叔理解兒媳婦春娥的苦。既然生米煮成了熟飯，春娥和保見(jiàn)的事在村主任的撮合和主持下，一個(gè)簡(jiǎn)單的婚禮算是成全了一對(duì)有情人的姻緣。春娥嫁到老侯家后，因?yàn)楸Ｒ?jiàn)害怕他爹的緣故，再加上春娥又是一個(gè)寡婦，所以在侯家過(guò)著忍氣吞聲的日子。但這一切并不防礙春娥和保見(jiàn)的恩愛(ài)。平常的日子里，春娥擔(dān)負(fù)起一個(gè)家庭主婦的重?fù)?dān)，在保見(jiàn)爹挑剔的眼光下，百般小心地盡著一個(gè)為人兒媳婦的責(zé)任。除此之外，春娥還得隔三差五地回木倉(cāng)大爹家，給木倉(cāng)爹漿洗衣服、收拾家務(wù)、做一頓熱飯。春娥的苦，春娥自己不說(shuō)木倉(cāng)爹也看在眼里。春娥畢竟不是自己的親閨女，有些話不好明說(shuō)，保見(jiàn)又因?yàn)楹ε滤桓艺f(shuō)出來(lái)。就這樣，春娥常常為了家庭的和睦忍氣以淚洗面。時(shí)間長(zhǎng)了，心疼媳婦的保見(jiàn)最終與他爹鬧翻。保見(jiàn)爹因私放高利貸被警察詢問(wèn)后，春娥把兒子馬駒從瓜地里接回了家?？傻却憾鹪俅位毓系亟o木倉(cāng)爹送飯時(shí)，木倉(cāng)爹在勞累過(guò)度中沉然睡去，就再也沒(méi)有醒來(lái)。春娥和保見(jiàn)就著瓜地里的一塊空地，披麻戴孝地下葬了木倉(cāng)爹。堆起的新墳前，春娥讓兒子馬駒跪下給爺爺磕頭的那一刻，瓜地里一顆熟透的西瓜“噶”地一聲裂成兩半，西瓜裂開(kāi)處，瓜瓤鮮紅、瓜子如墨。