Critics Consensus

It strays from the source, but whatever it might lack in fidelity, Aleksandr Sokurov's lengthy, ambitious Faust more than makes up in fresh energy and ideas.



Total Count: 37


Audience Score

User Ratings: 2,662
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Movie Info

Employing elaborate camera movements, a dense soundscape, intricate production design and spectacular locations, FAUST conjures up a unique and phantasmagoric vision of the Faustian legend. Faust, played by Johannes Zeiler, is a man in search of the ideals of the Enlightenment but he becomes obsessed with the lovely Magarethe (Isolda Dychauk) and eventually sells his soul to the Devil (Anton Adasinsky) also known as the Moneylender, so that he may possess her. Comic, cosmic, painterly and stunningly beautiful scenes abound as the Devil takes Faust on a strange, unforgettable journey that ends in Hell itself. (c) Leisure Time Features


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Critic Reviews for Faust

All Critics (37) | Top Critics (12) | Fresh (24) | Rotten (13)

Audience Reviews for Faust

  • Jul 25, 2014
    A medieval doctor who's bored with life sells his soul to a Moneylender in exchange for one night with a beautiful young woman. A fairly surreal and occasionally confusing version of Goethe's classic, Aleksandr Sokurov's adaptation is rewarding, but not intended for literary novices.
    Greg S Super Reviewer
  • Jan 01, 2014
    What an impeccable work of art! The first thing that stands out from Aleksandar Sokurov's (<i>Russian Ark</i> [2002]) brave adaptation of Goethe's immortal piece of German tragedy is its remarkable cinematographic fluency, which may remind the connoisseur viewer of Pasolini's poetic and free-flowing visual literature with glimpses of incontrollable moral disorders, including the omniscient narrative that pervades the storytelling structure, with thoughts and voiceovers interrupting the characters' psyche (Fellini popularized this film trend from <i>8 1/2</i> [1963] to <i>Satyricon</i> [1969], until the world saw Pasolini's Trilogy of Life for the first time). Sokurov's only weakness is his sudden obsession with distorting the dimensions of objects through his digital lens. The purpose is understood, that is, to accentuate the phantasmagoric scope of his surreal vignettes scattered throughout his works, but it distracts the viewer from what should have been a more visually delicate tragedy. Still, I had never imagined I would see Expressionism addressed with the Italian dreamlike trademarks of artistic freedom, improvisatory language and haunting voiceovers in the 20th Century. 2011 has been, once again, a witness of a superbly crafted and directed (and therefore terribly underappreciated and underrated) cinematic work of the highest class. If you really want to have an idea of how high I am placing this project, I'd rank it over the mysticism of the great <i>Fanny och Alexander</i> (1982) anyday! 96/100
    Edgar C Super Reviewer

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