Tag Archives: Andrei tarkovsky

Carol (Haynes, 2015)

This is going to be a slightly different kind of review. I want to look at Todd Haynes’ Carol not only as the pinnacle achievement of what Haynes has being doing in cinema throughout his career but as the pinnacle … Continue reading

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Russian Ark (Sokurov, 2002)

Sokurov’s Russian Ark (2002) is not merely an exercise in technique; with the single take that comprises it, Russian Ark, perhaps more than any other film, illustrates film’s capacity to convey the presence of time and space within reality through … Continue reading

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Bresson, Ranked

“Make visible what, without you, might perhaps never have been seen.” Bresson’s style of accentuating minimalist details — closing up and slowing down on body parts or material items — repletes his films with a transcendental slowing down of one’s … Continue reading

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Au Hasard Balthazar (Bresson, 1966)

It seems rather fitting that I end this retrospective by watching Bresson’s Au Hasard Balthazar (1966). A retrospective is to look back on a person’s work, and Au Hasard Balthazar is concomitantly both the first Bresson I ever saw, and … Continue reading

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Robert Bresson Retrospective

The Pacific Cinémathèque is kicking off a Bresson retrospective. Though my work schedule gets in the way, I will try to see all 13 films — 5 of which I have previously seen. Those showings which I cannot possibly make, … Continue reading

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Mirror (Zerkalo, Tarkovsky, 1975)

Seeing Mirror (Andrei Tarkovsky, 1975) last night in 35 mm simply confirmed its place as, not only my favourite Tarkovsky — in other words, my favourite film by my favourite director — but, along with Memento and Rashōmon, one of … Continue reading

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Tarkovsky, Ranked

“We can express our feelings regarding the world around us either by poetic or by descriptive means. I prefer to express myself metaphorically. Let me stress: metaphorically, not symbolically. A symbol contains within itself a definite meaning, certain intellectual formula, … Continue reading

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The Juxtaposition Of Beauty And Tragedy: A List Of My Favourite Film Endings

Three Colours: Blue Nights Of Cabiria Ikiru Late Spring Solaris

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Solaris: A Comparison

First, I will examine the direct bridge that can be made between Tarkovsky’s 1972 Solaris and Steven Soderbergh’s 2002 remake. I will then focus my attention towards two other films, Akira Kurosawa’s Rashômon and Ingmar Bergman’s Persona, that, while not … Continue reading

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