The imagery is nothing short of amazing, as if Tarkovsky were painting with film. His long, slow tracking shots often leave figures on one side of the frame and mysteriously catch them later on the other side. The thing that completely confounds me is the significance of Eugenia, the translator. It's possible that she represents the more material, secular world that Andrei is drifting away from, but I might be grasping at straws there. I look forward to future viewings to give it more thought.

ladne futryny i w ogole

This film is really the height of pretension. It picks the very loftiest of themes: God, sex, nationality, art, what have you, and then simply babbles about them nonsensically with excruciatingly slow camera movement so that they seem like they have meaning. The dialogue is atrocious, the actors are just statues, and the film makes no statement at all, it simply throws an idea out and then moves on without comment. It has some shots that could be brilliant if they had discernible meaning.

The kind of ponderous, soul-searching narrative that fits right alongside Tarkovsky's penchant for amazing cinematography.

Beautiful film but you have to be willing to give it your full attention.

A film that didn't cause a sense of detachment or boredom, probably the reason why Tarkosvky himself found his film "tedious". The spellbinding imagery and themes don't distract from the narrative. Although I haven't deciphered everything, this is without a doubt one of Tarkovsky's best films and definitely worth revisiting.

Pretentious and dull, but very pretty.

The poetic beauty of Nostalghia is unforgettable, and I say that without having much of a clear idea of what happened in the movie. What I do know is that it hits me in the heart, and that it forces me to see that in the chaos and irrational process of these strange realities that Tarkovsky has molded, there is a profound yet unknowable truth, and that the futile exploration of this, or better yet, the hand reaching out for that truth, is where humanity's story lies.

"Nostalghia" looks gorgeous (especially the sepia-toned segments) and it feels as it must be absolutely important, although, frankly, I can't really find a way to connect with it. There are some stunning shots, an impressive cremation scene towards the ending and some semi-interesting babbling about abstract matters. The film's look and feel is appealing, but its content seems facile and alienating, and that's what Tarkovsky struggles to distract us from through the brilliance of his technique.

Much scenes are like immemorisable visions

Great Movie

#444

So beautiful.

As typical with this director's work, it exists in a universe of elevated metaphors where characters contemplate their problems with existence. The scenes between Gortchakov and Domenico are, content-wise, nearly impenetrable. Aesthetically, films this beautiful are not made anymore.

somewhat wandery, but imagistically strong.

It's Tarkovsky so there's no question of its gorgeous imagery and it is ambiguous enough to invite many viewings but not completely obscure to the point of confusion or boredom.

Leave you breathless; if I'm in the right mood, this is THE shit.