Fyodorov

本片讲述了二战中的一个著名故事。1941年德军集结了最精良部队对莫斯科发动了号称“台风”的强大攻势，目标是在冬季来临前攻下这座城市。苏军“潘菲洛夫步兵师”的28名士兵用仅有1门45毫米反坦克炮、几支反坦克步枪、反坦克手榴弹和燃烧瓶阻挡了这支野心勃勃的侵略之军，以整个连队只幸存5人的巨大代价阻止了德军的进攻，保卫了莫斯科。

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.