A father and his son live together in a roof-top apartment. They have lived alone for years in their own private world, full of memories and daily rites. Sometimes they seem like brothers. ...
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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 »
Third part in Aleksandr Sokurov's quadrilogy of Power, following Moloch (1999) and Taurus (2001), focuses on Japanese Emperor Hirohito and Japan's defeat in World War II when he is finally confronted by General Douglas MacArthur who offers him to accept a diplomatic defeat for survival.
From a misty night into the dark exposition rooms of a museum to ponder philosophically at paintings by 'Pieter Jansz Saenredam', 'Hercules Pieterszoon Seghers', Hendrikus van de Sande ... See full summary »
A 19th century French aristocrat, notorious for his scathing memoirs about life in Russia, travels through the Russian State Hermitage Museum and encounters historical figures from the last 200+ years.
A father and his son live together in a roof-top apartment. They have lived alone for years in their own private world, full of memories and daily rites. Sometimes they seem like brothers. Sometimes even like lovers. Following in his father's path, Aleksei attends military school. He likes sports, tends to be irresponsible and has problems with his girlfriend. She is jealous of Aleksei's close relationship with his father. Despite knowing that all sons must one day live their own lives, Aleksei is conflicted; his father knows he should accept a better job in another city, perhaps search for a new wife, but who will ease the pain of Aleksei'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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