Master auteur Andrei Tarkovsky hews a biopic as densely epic as it is fascinatingly esoteric, enthrallingly opposed to examining the actual artistry of its subject, instead crafting more of an existential portrait of ennui which juxtaposes historical facets of Christianity with a protagonist whose trajectory of suffering might is comparable to Christ himself.
The Sacrifice by Andrei Tarkovsky There are very few directors that I find as intriguing, frustrating, and ultimately as rewarding as Andrei Tarkovsky.
Intriguing becuase his approach to cinema was so precise, so methodical, and so at odds with everything that seems to be associated with movies today.
And yet, Tarkovsky, even at his seemingly most pretentious, is always rewarding. And then there are the themes that weave themselves through his films: Set in a remote location on the coast of Sweden, it focuses on Alexander played by Erland Josephsonan older man who is a distinguished writer and philosopher among other things.
It is his birthday, and all of his friends and family have gathered at his beloved house to celebrate. Their celebration, however, is shattered when fighter jets scream overhead and news of war appears on the television.
Alexander, on the other hand, suffers a spiritual breakdown. Earlier in the film, he admits to having no faith — for him, it seems, religion and God are philosophical and artistic ideas more than anything else.
But faced with the death and destruction of all he knows and loves, Alexander finds himself incapable of doing anything else but pray, asking God to spare the world from the apocalypse. Throughout the film, Tarkovsky constantly pulls the viewer into a deeper world, and a deeper sense of spirituality, rhythm, and truth.
However, it will always about the imagery for me. The gorgeously lensed scenes of civil unrest. The use of mirrors and reflections to transform otherwise claustrophobic scenes into almost ethereal spaces.
A house wrapped in flames. And finally, a shot of a gnarled tree waiting to bloom — a single, simple, indelible image that hints at the crown of thorns and the cross, symbols of the ultimate sacrifice, as well as the potential for new life, for rebirth and resurrection.
To hope that a movie, of all things, might convey such bald-faced, simplistic, and overwrought themes seems almost offensive today, but only because movies have been reduced so much that any movie containing such ideas comes off as mere propaganda.
Propaganda The Sacrifice most certainly is not, but rather a deeply felt plea on the part of its creator.
Such audacity is yet another reason why I like and admire Tarkovsky so much.Andrei Tarkovsky was a prime example of the filmmaker as poet, and that is precisely how Stalker is best approached: as a poem.
The premise of the film, baldly stated, may mislead viewers into expecting something closer to a monster movie, or a travel through alien territories.
Through film clips, journal entries, and personal musings, ONE DAY IN THE LIFE OF ANDREI ARSENEVICH is renowned French filmmaker Chris Marker's homage to his friend and colleague, Andrei Tarkovsky %. One Day in the Life of Andrei Arsenevich (French: Une journée d'Andrei Arsenevitch) is a documentary film about and an homage to the Russian film director Andrei Tarkovsky .
On the surface, Andrei Tarkovsky's penultimate film is the brooding story of a Russian poet at loose ends in Italy. More essentially it portrays a modern world estranged from itself. Tarkovsky's style requires patience, but the rewards are considerable.
One Day in the Life of Andrei Arsenevich (French: Une journée d'Andrei Arsenevitch) is a French documentary film directed by Chris Marker, about and an homage to the Russian filmmaker Andrei Tarkovsky. Sep 26, · The Three Andreis () – A short documentary taken from the set of Andrei Rublev, featuring interviews with actor Anatoly Solonitsyn, Andrei Tarkovsky, and screenwriter Andrei Konchalovsky, the latter seen directing another movie around the same time as Andrei Rublev.