re-watch. it still deeply connects with me. sokurov's distortion of identity (the line always rises, it's a constant expansion) and space-time continuum (the line is never straight, it bends and turns, making wormholes) is something that attracts not only on cinematic level but also on personal one (the feeling of being always and everywhere). i think his work should be studied in comparison with derrida's hauntology
Brillante hasta la sección de lienzos. Sokurov crea lienzos, pinta realidades; pero la solemnidad --a ratos-- de la narración falsifica la misma observación de las pinturas, entorpece el discurso sobre un viaje, en primer lugar, colectivo o plurar, y en segundo lugar, individual, de un yo --Sokurov, en este caso-- enfrentado a las pinturas de grandes maestros.
100/100 - Open montage, the use of nondescript (yet no less arresting nor beautiful), non representational images, which resonate both forwards and backwards throughout a film, like refrains in the use of a tonic/key note in music, leaves the film’s sense of time unbroken. Elegy of a Voyage is perfectly observational and contemplative. Review: http://aestheticsofthemind.com/2015/09/20/elegy-of-a-voyage-sokurov-2001/
From one elegy to another: "For the Beautiful is right at the margin of the Terrifying, which we can only just endure."-Rilke, the First Duino Elegy This is the most Beautiful film shot on video I've seen. And it is is Terrifying. A perfect film for those who want to dream while awake. To give it a fucking generic critical blurb, "Pure Cinematic Poetry."
One of the best things I have ever seen in Cinema. I've been re-watching whole sequences from it over the last months, and every time I feel like dreaming of floating on a canvas from the Romantic era. Just a very few directors can craft films like this one, nowadays.