Tag Archives: tarkovsky

Elegy of a Voyage (Sokurov, 2001)

As with Russian Ark, Sokurov creates an all encompassing atmosphere through narration and open form montage, yielding a sense of presence throughout the film. Open montage, the use of nondescript (yet no less arresting nor beautiful), non representational images, which … Continue reading

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Boyhood (Linklater, 2014)

Coming from a secularist, Boyhood is a surprisingly poetic film. Linklater is not known for crafting highly aesthetic or spiritual films, but the means by which he weaves in philosophy and questions the meaning of life is a method of … 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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Diary of a Country Priest (Journal d’un curé de campagne, Bresson, 1951)

A performance of austerity on the subject of austerity. A filmmaker practices austerity to create art; a priest (Claude Laydu) practices austerity to instill faith: both seek to fluorish growth amidst the people. The ascetic habits and characteristics of the … 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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Wild Strawberries (Smultronstället, Bergman, 1957)

Awesome film. My enjoyment of Bergman’s films is very different from my other favourites. His films are quite disconnected, and difficult to become emotionally attached to. Actually, this film is his must humane and sentimental (that I’ve seen). Instead 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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