Seven year old Sasha practices violin every day to satisfy the ambition of his parents. Already withdrawn as a result of his routines, Sasha quickly regains confidence when he accidentally ... See full summary »
Like the Russian poet of 'Nostalghia', who, accompanied by his Italian guide and translator, traveled through Italy researching the life of an 18th-century Russian composer, Andrei ... 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, he meets the lunatic Domenico, who years earlier had imprisoned his own family in his house for seven years to save them from the evils of the world. Seeing some deep truth in Domenico's act, Andrei becomes drawn to him. In a series of dreams, the poet's nostalgia for his homeland and his longing for his wife, his ambivalent feelings for Eugenia and Italy, and his sense of kinship with Domenico become intertwined.Written by
Anonymous and Brian McInnis
This was Andrey Tarkovsky's first film directed outside of the USSR. It was supposed to be filmed in Italy with the support of Mosfilm, with most of the dialogue in Italian. When Mosfilm support was inexplicably withdrawn, Tarkovsky used part of the budget provided by Italian State Television and French film company Gaumont to complete the film in Italy and cut some Russian scenes from the screenplay, while recreating Russian locations for other scenes in Italy. See more »
Oh mother! The air is that light thing that moves around your head and becomes clearer when you laugh!
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Before the end credits: To the memory of my mother. - Andrei Tarkovsky See more »
Really, as beautiful as a film can be. As beautiful as art gets.
Words cannot describe Nostalghia, or, indeed, any Tarkovsky film. He is an artist who is completely unique - I can't think of any other auteur like him. I can't even think of any film that I've seen which tries to copy his style. It is inimitable. No one else is as patient. Tarkovsky's pans and zooms can take minutes. The penultimate sequence, where a man has to carry a candle for a certain distance without it going out, should be horribly boring. Any other director would have used a lot of cutting to produce suspense. Yet, with Tarkovsky's brilliant direction, without a single cut for nearly an entire reel, it becomes one of the most suspenseful and, yes, one of the very best scenes ever captured on film.
In fact, the direction's almost too good. This isn't minimalist like some of his previous films such as Solaris and Stalker. It is more like Andrei Rublev: not a second goes by that is not stuffed to the brim, almost flowing over, with brilliant and poetic images. In a way, although in a good way, this distracts the viewer. I was so bowled over by the images of Nostalghia that I had to watch it twice to understand it (it was nearly as difficult the second time around not to be bowled over!). And I totally appreciate that. I was more than happy to explore this film more deeply on a second journey. Thank you Mr. Tarkovsky for making the films that you did. When you sought to fulfill your audiences' lives with your art, you came closer to succeeding than any artist could have. Of course, you couldn't have made life perfect, nor would you have wanted to. For, as you said, if life were perfect, art would be pointless. May my life always be imperfect.
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