While seemingly pretentious and over-indulgent, it is easy to see how one may find boredom while trying to engage with Tarkovsky's work. In fact, Tarkovsky poses such questions himself regarding the meaning of art as a whole and what it also means on a personal level. Are artists mind-openers and world-alterers? Or are they really sappy, pretentious and over-indulgent fools?
Nostalghia has all the Tarkovsky traits: long quiet takes that may go on for minutes, shots of water, the sounds of water dripping, and sometimes painfully slow-zooms and dollies. But this is Tarkovsky showing us yet another visual poem, and when we read a poem we generally don't understand the first time around or the second. It may take the third or fourth time around for everything to click and while we don't normally think in such a literary way when it comes to film as entertainment, we are aware it is a possibility and it isn't for everyone.
The beauty of what the camera captures is magnificent, and almost seems fool-proof when Tarkovsky is behind the camera. He could film a dirty puddle filled with literal crap and human fluids and we'd still be inspired and amazed.
Feelings unspoken are unforgettable.
Nostalghia is so far Tarkovsky's greatest effort concerning faith and broader spirituality as we find the main character so reflective in his past as he is in another country looking for a composer. His remorse and longing for what was is harrowing and comes full circle by the end. While during the entire film he has been an observer (as we are given his perspective from the camera many times throughout) and in a sequence of something on its face does not seem special, he realizes he must take action to rekindle the faith he lost.
The closing minutes are as picturesque as anything I have ever seen put to film.
Nostalghia has all the Tarkovsky traits: long quiet takes that may go on for minutes, shots of water, the sounds of water dripping, and sometimes painfully slow-zooms and dollies. But this is Tarkovsky showing us yet another visual poem, and when we read a poem we generally don't understand the first time around or the second. It may take the third or fourth time around for everything to click and while we don't normally think in such a literary way when it comes to film as entertainment, we are aware it is a possibility and it isn't for everyone.
The beauty of what the camera captures is magnificent, and almost seems fool-proof when Tarkovsky is behind the camera. He could film a dirty puddle filled with literal crap and human fluids and we'd still be inspired and amazed.
Feelings unspoken are unforgettable.
Nostalghia is so far Tarkovsky's greatest effort concerning faith and broader spirituality as we find the main character so reflective in his past as he is in another country looking for a composer. His remorse and longing for what was is harrowing and comes full circle by the end. While during the entire film he has been an observer (as we are given his perspective from the camera many times throughout) and in a sequence of something on its face does not seem special, he realizes he must take action to rekindle the faith he lost.
The closing minutes are as picturesque as anything I have ever seen put to film.