Puk

故事发生在纽约皇后区的奥斯汀大街上，这是非常寻常的一日；在一栋古旧的大楼前，孩子们在街道上随心所欲地玩耍，老年人晒着太阳。唯一不同的是黑人比利一家搬入了这个街区，他们来自阿拉斯加，这栋古旧的房屋是他们跻身中产阶级的新兴希望。这栋房屋在这里已经很多年了，薄薄的墙壁使得每一个人都能听到邻居的一举一动，但是住在这里的人已经渐渐地习惯了这所有的一#8230;

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.

一个巨大又发亮的冰山逐渐呈现了；一条河流蜿蜓的流冰冻的山谷，四周的陡直的群山；一道彩虹由山边划过。Inuit说：“我叫Adamie Inukuk”，“我已经在这里住5000年了。”他是传说中深植我们心中的Nanook的孙子。Adamie会引导你，领略有关这片土地的传统和文化。让你就像迁徙的驯鹿，透过宽广的视野欣赏丰富的景致，并如身临其境般的经历崎岖不平的土地，与这块土地上的原住民，分享北极大地的自然美景。