Father (Andrej Shetinin) and Son (Alexei Nejmyshev) live together in a rooftop apartment. They have lived alone for years in their own private world, full of memories and daily rituals. ... See full summary »
A slow and poignant story of love and patience told via a dying mother nursed by her devoted son. The simple narrative is a thread woven among the deeply spiritual images of the countryside... See full summary »
The Russian poet Andrei Gorchakov, accompanied by guide and translator Eugenia, is traveling through Italy researching the life of an 18th-century Russian composer. In an ancient spa town, ... See full summary »
Romain is a very successful fashion photographer who's diagnosed with terminal cancer. He copes by being cruel and nasty to those he loves, until a visit with his grandmother changes his outlook. But, his boyfriend's moved out, now what?
Father (Andrej Shetinin) and Son (Alexei Nejmyshev) live together in a rooftop apartment. They have lived alone for years in their own private world, full of memories and daily rituals. Sometimes they seem like brothers. Sometimes even like lovers. Following in his father's footsteps, Alexei attends military school. He likes sports, tends to be irresponsible and has problems with his girlfriend. She is jealous of Alexei's close relationship with his father. Despite knowing that all sons must one day live their own lives, Alexei is conflicted. Alexei's father knows he should maybe accept a better job in another city, maybe search for a new wife. But who will ease the pain of Alexei's nightmares? Written by
Maybe if I had seen the first film in director Aleksandr Sokurov's trilogy, "Mother and Son," then "Father and Son (Otets i syn)" as Part 2 would have made some sense.
Instead, I found the beautiful imagery contradicting the limited dialogue. The camera loves the two lead actors to the extent that I simply could not figure out if paternal love was crossing over into incest or just homo-eroticism.
Andrei Shchetinin is one handsome, presumably widowed father and he spends a lot of time shirtless and working out. Aleksei Nejmyshev as his 20 year old son has mesmerizing blue eyes who understandably makes his possibly current or ex girlfriend weak in the knees by his penetrating stare.
And that's about all that happens.
The lead characters and their male friends spend a lot of time urgently telling each other they need to talk and then staring into space, or down at their shoes, or at each other. They do kick around a ball like such a pair would in American films, but they don't even talk about sports as a substitute for real interchange.
I was sorely reminded of Andy Warhol films, let alone satires of Ingmar Bergman films, but the cinematography was warm and lovely.
At least I got to see some of St. Petersburg and Lisbon, which I think is standing in for parts of St. Petersburg, while they are wandering around emoting and inarticulate. (At least all the final credits were in English.)
The intensity of the central relationship is shown very effectively as they enter each other's dreams, but the repeated parables about father's and son's roles in crucifixion sounded pithier than was demonstrated metaphorically.
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