In “The Soviet Elegy” the long train of photos of the Soviet leaders, dead or alive, stops at the portrait of Yeltsin. At the time of shooting Yeltsin had fallen down from the assembly of the Communist Party deities, and participated in the earthly life through connections of different kinds. Family chronicle, the world of nature, panoramas of new apartment blocks and cemeteries, accidental and acute episodes of life of the ordinary people of the street form the epic picture of a universal existence. Filming in the Yeltsin’s office, Sokurov shows not a working place of a high–ranked official, but an empty room of a tired office worker hurrying to go home. Then the camera finds the official at home, in deep immovable silence. This portrait of a popular figure who at that time was not the President of Russia, but an opponent of the official power, is an “anti–showcase” image. The filmmaker is interested in the personality being formed in loneliness, in silence, away from the official fuss, and only then acquiring dramatic volume and human significance. —sokurov.spb.ru
Alexander Nikolayevich Sokurov (Russian: Алекса́ндр Никола́евич Соку́ров) (b. June 14, 1951, Podorwikha, Irkutsk Oblast) is a Russian filmmaker from St Petersburg who has been hailed as successor to renowned director Andrei Tarkovsky.
Sokurov was born in Siberia in the officer’s family on June 14, 1951. He graduated from the History Department of the Nizhny Novgorod University in 1974 and entered one of the VGIK studios the following year. There he made friends with Tarkovsky and was deeply influenced by his Mirror.
Most of Sokurov’s early features were banned by Soviet authorities. During his early period, he produced numerous documentaries, including an interview with Aleksandr Solzhenitsyn and a reportage about Grigori Kozintsev’s flat in St Petersburg.
Mother and Son (1996) was his first internationally acclaimed feature film. It was mirrored by Father and Son (2003) which baffled the critics with its implicit homoeroticism (though Sokurov himself has criticized… read more