创作的压抑，让塔可夫斯基最终选择远赴意大利，接受西方制片人的邀约拍摄《乡愁》。他将对民族性的无穷追问糅进了《乡愁》的镜头里。剧情从来都不是这部影片的核心，漂泊、回忆、孤独，还有对故土深入骨髓的怀念，共同交织成如雾霭般难以散去的哀愁。在日记中，他记录着在意大利的创作心境，也写下了对这部作品的期许，而影片中那个戈尔恰科夫手持蜡烛缓缓走过水池的漫长镜头，不仅成为电影艺术史上不可复制的经典，更成为塔可夫斯基的“自我画像”，照见了一个异乡人的精神漂泊。
Valencia GP — Nov. 22，这一点在爱思助手下载最新版本中也有详细论述
This sort of thing is why I think historians need to be more active in technical discussions and decision-making about emerging technology. Everything about our current world is different from the premodern world that our ancestors inhabited. The past truly is a foreign country. But we carry fragments of that foreign world with us in our physical selves, in the gestures and other implicit knowledge we teach our kids. We take it for granted that there are aspects of being human which are never written down and which are unknowable unless you experience them.，这一点在safew官方版本下载中也有详细论述
Екатерина Щербакова (ночной линейный редактор)