There's gotta be a name for the strange feeling of wanting to live inside a specific group of images; there you go, Tarvovsky builds Nostalghia as a site specific performance that's a cinema statement and a glorious lesson. This unconventional emptiness, this rupture with present itself - a contemporary sickness that lingers memory and absence. At the end, my eyes and soul were already feeling nostalgic.
lack a bit of magic, falling for symbolized nostalgia rather than a derivative from a more satisfied plot. also focusing too heavily on the illusive overlap of circumstances and the characters themselves. more difficult to sit through but still consciously valid.
Cinematografia poética, cheia de metáforas e sensações visuais. Adorei a falta de ligação de determinados aspetos do enredo que nos levam ao propósito do filme, que é retratar um estado mental, este em que o próprio Tarkovsky se encontra e, como tal, representou tão bem.
Definitely one of Tarkovsky's more approachable works. There's a really beautiful balance of lyricism and continuity. He tells the story of a man, far away from his homeland, from his life...a story about himself, really. Tarkovsky's own feelings of 'nostalgia' for Russia, for his son, are evident. His heartbreak becomes that of his audience. Gorgeously shot from beginning to end.
'Nothing is more beautiful than water.' 'It transmits movement, depth, changes'. Throughout Nostalgia the composition of shot is extraordinary. Tarkovsky's obsession with water in buildings and confined spaces - particularly the sulphur pool - is present and correct. Even if not formally symbolic it conveys the sense of the ineffable within limits - so the struggle to cross a drained pool is all the more painful.