白乌鸦生活在哪里

之前没有看过这样的时代背景和题材，觉得还挺罕见的。冷战时期的苏联，叛逃的芭蕾舞者。现实部分的色彩像糖果一样明丽，而回忆则以冷调的黑白形式呈现：贫穷的童年，呼啸的风雪，母亲美丽的双眼让人难以忘怀。大量的面部特写，画面焦点的微妙转换很精巧，从右眼到左眼，从面容到眼睛和睫毛。
俄罗斯的广阔雪原、那种独有的自然、独有的苦涩滋养了鲁道夫，但为了继续跳舞，去更广阔的世界，他不得不背弃自己的土地，永远地离开母亲和家人。只是以一段段回忆画面出现的俄罗斯，不需要任何具体文字的注脚

If you have absolutely no idea of who Rudolf Nureyev (1938-1993) is, like as not, your immediate reaction after watching UK thespian Ralph Fiennes’ third directorial feature THE WHITE CROW would be what monstrosity of a man he is, whose arrogance is simply up to eleven, which appreciably dents audience’s empathy towards the subject, that could be a sticking point for a biopic.

The first dance, which I will name the mother's look in my summary, is the first debut of the white crow. He came from a humble background, and he always remeber the early rising of his mother because she need to drag the sleigh of food back in the snow. The smile and eyes of his mother when she find the boy waiting beside the window imprints on the boy's mind. He came across another lady at his mother's age, his teacher's wife, whose love makes him unable to breathe. His

生在苏联就是原罪。虽然获得了All Process，最后的表情已经没有平庸。不是巴黎补全他的Process，滋养他的依然是俄国，母亲。他说他依然是俄国式的。他自洽了，接受自己，出生于俄国的火车，和一个脏母亲。他愈合了，成长了。这就是all Process的才能。而不是需要巴黎的滋养，不是在巴黎，芭蕾的诞生地，才能真的学到芭蕾，all Process的Process看来不是这个意思。他只有跳舞，宏伟的想象，俄国启发他的。政治有时只是注脚，微不足道。天真的只钻研跳舞的孩纸。这就是一个活在苏联的艺术家。直到被召回。我也在想

我们终将成为那只白乌鸦
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