The fourth-greatest science fiction film of all time, after 2001: A SPACE ODYSSEY, Tarkovsky's SOLARIS, and SECONDS. Perhaps, in a certain frame of mind, I might think it is even better than that. To some degree an abstracted remake of Solaris. Many years since I watched this: another viewing required.
The pacing is very slow but the crafting of the scenes, in particular the sound is so clever and exaggerated it jumps out so boldly. The characters and philosophy formed almost constantly create intrigue and clearly the dialogue is very interesting. It's slow and methodical and I felt the first few and the last few scenes weren't necessary but perhaps I just don't understand them.
Sublime. Laboriously paced but never boring, it presents us with some fascinating philosophical questions but the main attraction is the absolutely mesmerizing atmosphere. Tarkovsky is a master of his craft and the film is a visual masterpiece -and, probably, a masterpiece period.
On my second viewing I had read Sculpting in Time twice prior to seeing it and you definitely notice a lot of reoccurring themes, thoughts and ideas - even the use of singular words. Still I must say that I have few, very few minor - minor gripes with it. Lovely electronic score and his tactfulness for sounds and their different nuances really comes through.
A perfect film. The minimal plot is easily overlooked when coupled with the beautiful images that will leave you speechless. The film would work just as well without the philosophical bits put in simply because it's such a joy to look at. The atmosphere Tarkovsky crafted will draw you in.
Beautiful photography, shots, directing. However the atmosphere made me feel extremely uneasy (sounds of water, cold, damp). I can't stand that, and was really distracting for me. Guess it wasn'y my cup of tea
Slow and artsy but somehow enthralling. The Mosfilm intro serves as a nice reminder that this film was indeed created and released in the Soviet Union in the midst of the Cold War, making its elegance all the more surprising to this American with preconceived notions of art under Soviet jurisdiction.
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