Aleksei
搜索"Aleksei" ，找到 9部影视作品
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奥列格·波戈金,Dmitri Voronkov
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俄罗斯电影《我们来自未来2》是2008年俄罗斯热门影片《我们来自未来》的续集。
《我们来自未来》是一部穿越影片，在当年曾引起强烈反响，被称为“俄罗斯2008年最优秀的电影作品”。讲述了圣彼得堡四个靠倒卖二战文物为生的年轻人从现代穿越时空隧道，重回战火纷飞的1942年，经历了伟大卫国战争的炮火硝烟洗礼后又回到现代，在短短的62个小时过后变得成熟的故事。
续集继续了他们在卫国战争中的冒险，由于加大资金投入，战争场面更为逼真，精心打造的动作戏也更具观赏性，当然，浪漫的爱情也是片中一大亮点。
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弗谢沃罗德·普多夫金
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A peasant comes to St. Petersburg to find work. He unwittingly helps in the arrest of an old village friend who is now a labor leader. The unemployed peasant is also arrested and sent to fight in World War I. After three years, he returns ready for revolution.
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马克·顿斯阔依
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Detstvo Gorkogo (The Childhood of Maxim Gorky) - 1938 Directed by Mark Donskoy G. ShenotinnikA Review By OllieThe Childhood of Maxim Gorky, tells the story of Aleksei Peshkov a 12 year old boy, living in 19th Century Russia, who would later be known as Maxim Gorky, ossibly Russia#39;s most famous and celeated novelist and dramatist. M#8230;
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Aleksei Karelin（阿列克谢 卡列宁）
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故事发生在1945年6-7月，战后的俄罗斯，即在德国无条件投降，红场庆祝胜利之前这段时间，影片叙述了苏联人民在艰难时刻的不寻常生活。 法西斯已经签署了无条件投降书，可怕的战争结束了。经历了人间地狱的人们如何面对明天？如何进入新的生活？中尉奥涅卓克，德国爆破专家，时时被战争的噩梦折磨着。他选择了拯救的道路——哪怕只是为良心得到安慰也好。苏联大尉乔闵已经无家可归。他不想过和平的生活，但新的时代迫使他与以前的敌人合作……
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奥列格·波戈金,DmitriVoronkov
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俄罗斯电影《我们来自未来2》是2008年俄罗斯热门影片《我们来自未来》的续集。 《我们来自未来》是一部穿越影片，在当年曾引起强烈反响，被称为“俄罗斯2008年最优秀的电影作品”。讲述了圣彼得堡四个靠倒卖二战文物为生的年轻人从现代穿越时空隧道，重回战火纷飞的1942年，经历了伟大卫国战争的炮火硝烟洗礼后又回到现代，在短短的62个小时过后变得成熟的故事。 续集继续了他们在卫国战争中的冒险，由于加大资金投入，战争场面更为逼真，精心打造的动作戏也更具观赏性，当然，浪漫的爱情也是片中一大亮点。
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Aleksei,German,Ml.
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quot;Aleksei Gherman junior’s film The Last Train remiered in Moscow in mid December during the film festival Stalker, which also awarded it the rize for the best film. However, its first screening had already taken lace in the ‘controcorrente’ cometition of the Venice Film Festival in Setember. The film, dealing with theme of war and shot in black and white, remained unnoticed by the ress in the context of the Venice Film Festival (reoccuied almost exclusively with Zviagintsev’s The Return), although it was awarded a rize. In Moscow, it made rather a different imression, esecially when set in the context of films dealing with human rights issues.
Gherman’s film is, in a sense, a resonse to his father’s war film 20 Days without War. Maybe this exlains 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 exloring 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 olitics, of regimes – which they have or have not elected. Gherman’s concern is with eole in articular circumstances, which are not their choice, and how they coe with these unwanted situations.