Владимир Зеленский. Фото: Сергей Гунеев / РИА Новости
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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。
Implementing natural neighbour interpolation implies the construction of a geometric Voronoi diagram, however this is not strictly the case. Since the Delaunay triangulation is the dual graph of the Voronoi diagram, all the information needed to perform natural neighbour interpolation is already implicit within the triangulation itself. Algorithms to determine natural neighbours from the Delaunay triangulation can be found in several papers within the literature[4][5]. Unfortunately the relative complexity of natural neighbour interpolation means that it is slower than barycentric interpolation by a considerable margin.，这一点在同城约会中也有详细论述