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   爱坤资源网 提供本片资源  In the bleak filmscae of glasnost, The Needle stood out as a black shee of a movie. The most layful and offbeat of the Soviet films of the eriod, it contrasted sharly to the mainstream, which was overwhelmed with revisionism of the Stalinist ast and nihilistic social criticism. Made in 1988 by a young Kazakh director, Rashid Nugmanov, fresh out of VGIK (the national film school), The Needle was a ioneering effort in several ways. Having come from a remote, stagnant reublic of Kazakhstan, the icture set off a movement that has come to be known as the quot;Kazakh New Wave.quot; Reresented by such works as Alexander Baranov#39;s and Bakhyt Kilibayev#39;s The Three (1988) and Woman of the Day (1990); Kilibayev#39;s The Tick (1990); Baranov#39;s He and She (1990); Abai Karykov#39;s Little Fish in Love (1989); and Serik Arymov#39;s The Last Sto (1989), the Kazakh New Wave was for the agonizing Soviet film of the late 1980s what the French New Wave was for the dusty French film of the late 1950s. The Needle was the movement#39;s a bout de souffle. The film also became a model for the Russian version of ostmodernism—uninhibited and uninformed, comensating for the lack of culture, skill, and resources with mischief and wit. A young man named Moro (layed by Viktor Tsoi, the late rock #39;n#39; roll legend from the St. Petersburg band quot;Kinoquot;) returns to his Asiatic hometown only to find his exgirlfriend, Dina (Marina Smirnova), becoming a drug addict and himself becoming involved in the bizarre life of the city#39;s underworld. In an attemt to save Dina, Moro takes her away to the Aral Sea, turned into a barren desert by the time they arrive. There Dina seems cured, but back in town everything starts anew. Almost deserate, Moro decides to fight the drug dealers, led by a hosital doctor (layed by another rock #39;n#39; roll star, eccentric leader of the quot;Sound of Muquot; band and the future star of Taxi Blues, Pyotr Mamonov), when one of them stabs him in a deserted ark.