关键词：俄罗斯 俄罗斯电影 二战 苏俄 黑白 2000s 战争 小阿列克谢·日耳曼
由小阿列克谢·日耳曼执导，2003上映的《最后的列车 Последний поезд》，是由奥列格·费奥多罗夫,彼得·梅尔库里耶夫,亚历山大·列宁等演员主演的剧情,战争,动作片,动作片。剧情,战争,动作片,动作片最后的列车 Последний поезд在俄罗斯发行。"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本视频《最后的列车 Последний поезд》由【月光影视】收集自网络发布，无需下载百度影音、西瓜影音。
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由小阿列克谢·日耳曼执导，2003上映的《最后的列车 Последний поезд》，是由奥列格·费奥多罗夫,彼得·梅尔库里耶夫,亚历山大·列宁等演员主演的剧情,战争,动作片,动作片。剧情,战争,动作片,动作片最后的列车 Последний поезд在俄罗斯发行，月光影视收集到最后的列车 Последний поезд包括星辰影院在线观看、手机mp4播放、西瓜影音、百度云资源、迅雷下载等全视频tv资源，如果有更好的资源请联系大河影视"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.
