You know what you're getting with a Tarkovsky movie and this is no exception: an aesthetic experience which really gives the time to just feel the moment and get lost in its hypnotic power as still (as often as cogent) as a painting.
I would be lying if I said I really get this movie. A cursory glance at wikipedia tells me that the untranslatabillity of culture is an aspect though was more inclined to say it was about the desperate search for meaning in an ostensibly (and probably) meaningless world. Though that is a much easier interpretation...
I don't the mainstream, quite the opposite. But it is often to brilliant to find a movie that really embraces the freedom film can give to an artist. What some people would call an "art film" but I don't like to say this because all movies are art. The carefully composed images, the apparently inconsequential conversations, the switch from color to black and white (I'm a real sucker for that when done well; Schindler's List handled poorly in my opinion), and the stangely stylised vision of the world where people just stand around posing as if for a painting. I also admire the use of long takes. Bare in mind I did watch this is several sittings.
So as is usually the case with this writer-director, what we have is a slow, austere, strange, not particularly cogent but very satisfying experience that Chris Stuckman will probably never talk about.
I would be lying if I said I really get this movie. A cursory glance at wikipedia tells me that the untranslatabillity of culture is an aspect though was more inclined to say it was about the desperate search for meaning in an ostensibly (and probably) meaningless world. Though that is a much easier interpretation...
I don't the mainstream, quite the opposite. But it is often to brilliant to find a movie that really embraces the freedom film can give to an artist. What some people would call an "art film" but I don't like to say this because all movies are art. The carefully composed images, the apparently inconsequential conversations, the switch from color to black and white (I'm a real sucker for that when done well; Schindler's List handled poorly in my opinion), and the stangely stylised vision of the world where people just stand around posing as if for a painting. I also admire the use of long takes. Bare in mind I did watch this is several sittings.
So as is usually the case with this writer-director, what we have is a slow, austere, strange, not particularly cogent but very satisfying experience that Chris Stuckman will probably never talk about.