I like how some men have mercantile fears about their women, but they forget to fear that their girlfriend may alter their inner self. That obviously also cannot be undone.
Which I find a little odd, as these types, do absolutely fear that a lot (e.g. their fear that women would effeminate them, or make them docile, or p...whip them, and so on).
For all what it is worth, incel community is strikingly peculiar in comparison to other males.
Truth is that we do really need each other.
Um, daughter.
The Żuławskian "evil woman" (Szamanka, Possession) is just so much more interesting as a character, as well as in terms of what her character implies about the world that made her as she is, than the Tarkovskian "mother-martyr" (and her imago form, the "maiden-miracleworker"). One is an incomprehensible embodiment of the most tragic and poetic traits of the individual, the other a temporary personification of an impersonal Motherland; so, besides different attitudes to womanhood, they also demonstrate vastly different views of personhood and the role of the individual in the grand scheme of living nature. It could be an artifact of the respective authors' personal upbringings and experiences - but as the Writer in Stalker explicitly notes, an author only becomes influential by virtue of reflecting something essential about their audience (which in this case would be initially limited to the respective ethnolinguistic communities).
Now contrast with the overarching message of contemporary Netflix-and-children style cinema. Absolutely fascinating! And quite important too - though nearly impossible to discuss.
You have to allow yourself to be immersed in it. It's a slower pace than commercial film makers adopt, but the atmosphere builds.
I find it so relaxing that I’ve just learnt to enjoy the whole experience and enjoy the dozing as part of the experience of watching the film.
Or mimoids.
But yeah probably not easy if you’re not already fairly deep into art-house films.
Those also require a familiarity and understanding of the relevant culture of those places.
Not the same but it made me think of Akira Kurosawa spends 12 hours on a single shot...only to cut it[0]
[0]https://old.reddit.com/r/criterion/comments/pamqsd/akira_kur...
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DURATION : 03:02:38.361000000[0] https://en.wikipedia.org/wiki/The_Steamroller_and_the_Violin
(3) did the stalker / Tarkovski just bring you to the room
It also meant being at the mercy and whims of the Communist party. Like Polish genius director Andrzej Żuławski, who filmed almost his entire magnum opus "On the Silver Globe," only to have the Communist government cancel the project and order the destruction of what was filmed.
The greatest science fiction movie never made. I get goosebumps every single time I watch these trailers:
Żuławski's movies contain enough mystery to thrill the imagination, yet it is crystal clear that they are telling a particular story, with an intended authorial meaning, the further implications of which we are free to ponder - not simply painting a vast, inhospitable landscape for us to project our own meaning onto, like Tarkovsky does, or many West European filmmakers like Bunuel or the aforementioned Bergman.
Now I want to get me a projector and organize a pirate Żuławski marathon in a warehouse, culminating with a screening of On the Silver Globe, once someone's brought a decent pusher to the party and the shit has started to kick in... Eh, if only my city's avant-garde art scene and I hadn't recognized each other for the pretentious good-for-nothing wankers that we are. More effectual personalities can be found among the wannabe gangsters, for fuck's sake - but those lives are little movies in their own right, and avant-garde cinema's got nothing on them.
Unfortunately, without an overt repressive apparatus for people to struggle against, it seems their finest qualities end up going down the drain a little bit. Creative people end up inventing novel schemes for making money out of ever more primitive illusions, instead of dedicating their brain cells to creating those increasingly elaborate visions that kept our forefathers struggling onward with dignity against inhuman conditions. Which leads us to the big question: if the Communist authoritarian project was a necessary condition to get all these fascinating, singular (anti-/post-)Communist works of art... was it worth the millions of lives sacrificed or devastated?
A Japanese release already exists (JP subs only): https://www.amazon.co.jp/On-the-Silver-Globe-Blu-ray/dp/B077...
https://blog.codinghorror.com/oh-you-wanted-awesome-edition/
I though he had a daughter, am I misremembering?
Interesting tidbit, after a year of filming scenes the prints were damaged in processing and were unusable. [1] He had to completely (almost) reshoot the film a second time. I always wondered about the difference between the original shoot and the reshoot, what no one got to see.
Second one should be Solaris, if you’re into SciFi or The Mirror if you’re not of if you’d like a challenge. I think The Mirror is the better movie, the woman (stand in for T’s mom) looking at the wheat field (T had these specifically planted for the film!) haunts me to this day.
I personally couldn’t relate to The Sacrifice, perhaps his most personal film. His earlier films (Ivan and Rublev) I could not watch at all.
To be a genius artist like him in the Soviet Union meant privileges unheard for art film directors in Europe (let alone US), eg see the wheat field thing above. It also meant you’re at the mercy of the “masses”. I had read an article once that included a comment for The Mirror from a regular filmgoer, saying after 30mins it caused such a headache! The funding was based on such feedback and the movie was labeled as elitist (it is) which greatly impacted his career. It’s infuriating to think T lost time due to such petty interference (OTOH, I could only finish the film on my third try, falling asleep in first two attempts! So she had a point)