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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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.
The existential protagonist is a hungry, homeless, socially isolated, and socially alienated young man living on the streets of an anonymous Russian big city in the 19th Century. He's ... See full summary »
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 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
As an American gay man, it was impossible for me to watch this film without a great deal of wishful thinking. I'm amused by the discussion (in reviews here and elsewhere) about homo-erotic content. I'm guessing the generally stunted nature of male/male interaction in the U.S. will negate the ability of most straight American viewers to see this movie as anything OTHER than sexual. And that's a shame.
I love this movie and not just for the eye candy. It's an exploration of relationships between males as much as it is about fathers and sons, a topic that is generally ignored in films. Unless we're talking about guys shooting or beating each other up. Men can love other men without wanting to boink them. I wish Americans could grasp that concept.
I have the feeling that this film has a back story that makes all of the interaction between the father and son perfectly logical. The point is, I think, that the back story is unnecessary. What is necessary--and fascinating--is to see how this father and son treat each other. The traditional father/son boundaries are in evidence, but their interdependence has blurred the lines. They're protective of each other, and neither one wants to hurt the other. But both realize that hurt is coming, one way or the other.
Dreams are depicted, but the whole film feels like a dream because of the pacing and the way it's photographed. This adds to the initial confusion about what the father/son relationship actually is. To my mind, this is a good thing.
This is one movie that becomes more, uh, plausible, with repeated viewing. Gay men especially should plan to watch this movie at least twice. Trust me, the first time you'll be completely blown away watching these two sexually magnetic men treating each other with affection and respect in a nonsexual way. This is something we rarely get to see, even in gay movies. You'll need to watch it a second time to "get" the movie, and for that you'll need to be aware that their physical intimacy and touchy-feely relationship is a cultural thing, not a gay thing.
I'm a sucker for Russian films, generally, as well as beautifully-photographed films, and films with non-lineal content. Here's one that's got it all, and with a cherry on top: two accomplished and beautiful actors you can't take your eyes off of.
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