帝国[电影解说]
影片信息
- 状态：已完结
- 主演：Alla Osipenko/
- 导演：亚历山大·索科洛夫/
- 年份：1987
- 地区：其它
- 类型：电影解说/
- 时长：内详
- 上映：未知
- 语言：其它
- 更新：2025-03-15 06:13
- 简介： ☛影视工厂邀您共赴光影盛宴！本站收录《帝国[电影解说]》完整未删减版，即刻享受无障碍高清观影特权。 该经典力作自1987年其它震撼首播，由亚历山大·索科洛夫等知名导演联合操刀。更力邀影坛巨匠Alla Osipenko等实力派演员倾情演绎，缔造影坛永恒传奇。剧情精粹： Short film Empire is based on a radio drama Sorry, Wrong Number by the American writer Lucille Fletcher. Actually, Sokurov draws on a single theme forming the background for the story of the thriller — the woman's illness… The heroine is bed–ridden and her only means of communication with the outside world is her telephone — until a killer interrupts the conversation… Sokurov removes all the dialogues, leaving us alone with the heroine — “a living skeleton” among the refined, with a touch of Modern–style, furnishings — who is listening to a radio broadcasting of Traviata, with its pleas for mercy and love. An elegant coffin–home is the spatial centre and symbolization of the entire film. And inside the coffin we certainly see the actress — the famous Russian ballerina Alla Osipenko who plays not only the heroine but also her own self. This metaphoric cinema–image bears an allusion to the great “handicapped” Sarah Bernhardt who was reported to sleep in a coffin, as well as to the entire complex of aesthetised Decadence, converting an apology of Death into a lifestyle. Here is the key to the code of the title. Empire is a style that attempted to reanimate the dead ancient harmony. The heroine of Sokurov's film communicates with her phone as the only partner, and sort of interferes with the beyond, attracting this air — intangible yet saturated with danger. It is from the radio air that she accumulates both pleasure and tranquillity — the aria of dying yet beloved Violetta, while the killer's silhouette materializes from the phone air. A chamber pot, overturned and spilt by the killer in haste, remains the only evidence of human activities in this boudoir of Death. Sokurov's metaphor, clad in naturalistic details, produces the effect of ironic disclosure: “a wet spot” is left after a symbol. The film was shot as a study work of a VGIK student S.Sidorov. At that time Sokurov did not have a chance to launch a project of his own, therefore he used this possibility to work. Visual conception of this film anticipates a considerable number of Sokurov's future experiments: light that models the space, levelling of colours, correlation of contrasting textures.★ 全网独播多端适配：电脑端臻享4K画质，移动端秒速加载，跨设备实时同步记录，附赠百度云盘超清资源包。持有优质影视资源者，诚邀加盟影视工厂内容生态。进阶影迷推荐访问豆瓣解读文化内核，查阅百度百科深挖角色图谱，开启多维立体化观剧体验★
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剧情简介
☛影视工厂邀您共赴光影盛宴！本站收录《帝国[电影解说]》完整未删减版，即刻享受无障碍高清观影特权。
该经典力作自1987年其它震撼首播，由亚历山大·索科洛夫等知名导演联合操刀。更力邀影坛巨匠Alla Osipenko等实力派演员倾情演绎，缔造影坛永恒传奇。剧情精粹： Short film Empire is based on a radio drama Sorry, Wrong Number by the American writer Lucille Fletcher. Actually, Sokurov draws on a single theme forming the background for the story of the thriller — the woman's illness… The heroine is bed–ridden and her only means of communication with the outside world is her telephone — until a killer interrupts the conversation… Sokurov removes all the dialogues, leaving us alone with the heroine — “a living skeleton” among the refined, with a touch of Modern–style, furnishings — who is listening to a radio broadcasting of Traviata, with its pleas for mercy and love. An elegant coffin–home is the spatial centre and symbolization of the entire film. And inside the coffin we certainly see the actress — the famous Russian ballerina Alla Osipenko who plays not only the heroine but also her own self. This metaphoric cinema–image bears an allusion to the great “handicapped” Sarah Bernhardt who was reported to sleep in a coffin, as well as to the entire complex of aesthetised Decadence, converting an apology of Death into a lifestyle. Here is the key to the code of the title. Empire is a style that attempted to reanimate the dead ancient harmony. The heroine of Sokurov's film communicates with her phone as the only partner, and sort of interferes with the beyond, attracting this air — intangible yet saturated with danger. It is from the radio air that she accumulates both pleasure and tranquillity — the aria of dying yet beloved Violetta, while the killer's silhouette materializes from the phone air. A chamber pot, overturned and spilt by the killer in haste, remains the only evidence of human activities in this boudoir of Death. Sokurov's metaphor, clad in naturalistic details, produces the effect of ironic disclosure: “a wet spot” is left after a symbol. The film was shot as a study work of a VGIK student S.Sidorov. At that time Sokurov did not have a chance to launch a project of his own, therefore he used this possibility to work. Visual conception of this film anticipates a considerable number of Sokurov's future experiments: light that models the space, levelling of colours, correlation of contrasting textures.★
全网独播多端适配：电脑端臻享4K画质，移动端秒速加载，跨设备实时同步记录，附赠百度云盘超清资源包。持有优质影视资源者，诚邀加盟影视工厂内容生态。进阶影迷推荐访问豆瓣解读文化内核，查阅百度百科深挖角色图谱，开启多维立体化观剧体验★
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