Nostalgia (Nostalghia) Reviews

  • Jul 18, 2019

    10 10 10 9 10 9 8 8 9 9 = 92 7/16, 2019 Not the best Tarkovsky's work but it has the same poetic power and structure in it.

    10 10 10 9 10 9 8 8 9 9 = 92 7/16, 2019 Not the best Tarkovsky's work but it has the same poetic power and structure in it.

  • Jan 15, 2019

    Tarkovsky's photography is always incredible. The film follows his trademark hypnotic style but the fact that it's a bit autobiographical makes it a bit less captivating than most of his other works.

    Tarkovsky's photography is always incredible. The film follows his trademark hypnotic style but the fact that it's a bit autobiographical makes it a bit less captivating than most of his other works.

  • Dec 09, 2018

    More interesting than I was expecting.

    More interesting than I was expecting.

  • Oct 13, 2018

    Nostalghia is my favourite Tarkovsky film. There is something magical about its slowed-down memory and dream sequences, its moments of epiphany, reflection and beauty and its overriding sense of loss and detachment. Andrei Gorchakov travels to Italy to research the life of Pavel Sosnovsky, an exiled composer who studied in Bologna before returning to Russia and hanging himself. Gorbachev, himself an exile, meets Domenico, a former inmate of a lunatic asylum who locked up his family for 7 years in order to avoid the apocalypse. Domenico believes that if he is able to cross the St Catharine Pool with a lighted candle, he will save the world. He gives the candle to Andrey who agrees to carry out the task on his behalf. Domenico later sets fire to himself in Rome to the 4th movement of Beethoven's ninth symphony. Andrey returns to the pool which has now been drained of water. There follows one of the greatest moments in cinema. In a single unbroken take lasting over ten minutes, Andrey climbs into the now dry pool, lights the candle and starts to cross from one side to the other, shielding the candle from the wind. Twice the candle blows out and Andrey is forced to return to the beginning. At the third attempt he reaches the other side with the candle still alight and promptly collapses. It is impossible to do justice to this scene simply by recounting what happens. It is unbelievably beautiful. Just thinking about it makes me shudder with awe.

    Nostalghia is my favourite Tarkovsky film. There is something magical about its slowed-down memory and dream sequences, its moments of epiphany, reflection and beauty and its overriding sense of loss and detachment. Andrei Gorchakov travels to Italy to research the life of Pavel Sosnovsky, an exiled composer who studied in Bologna before returning to Russia and hanging himself. Gorbachev, himself an exile, meets Domenico, a former inmate of a lunatic asylum who locked up his family for 7 years in order to avoid the apocalypse. Domenico believes that if he is able to cross the St Catharine Pool with a lighted candle, he will save the world. He gives the candle to Andrey who agrees to carry out the task on his behalf. Domenico later sets fire to himself in Rome to the 4th movement of Beethoven's ninth symphony. Andrey returns to the pool which has now been drained of water. There follows one of the greatest moments in cinema. In a single unbroken take lasting over ten minutes, Andrey climbs into the now dry pool, lights the candle and starts to cross from one side to the other, shielding the candle from the wind. Twice the candle blows out and Andrey is forced to return to the beginning. At the third attempt he reaches the other side with the candle still alight and promptly collapses. It is impossible to do justice to this scene simply by recounting what happens. It is unbelievably beautiful. Just thinking about it makes me shudder with awe.

  • Nov 03, 2017

    Nostalghia is quite simply among the most beautiful films ever made. It's Tarkovsky's most emotionally engaging film since his masterpiece Solaris, certain to reward patient viewers with one of the most singularly amazing filmgoeing experiences.

    Nostalghia is quite simply among the most beautiful films ever made. It's Tarkovsky's most emotionally engaging film since his masterpiece Solaris, certain to reward patient viewers with one of the most singularly amazing filmgoeing experiences.

  • Oct 24, 2017

    As is expected of Tarkovsky he raises questions in this movie that don't have to be answered, it is a spiritual journey that has to be taken along with the writer (Yankovskiy) in an attempt to find the needed answers. It is probably Tarkovsky's most enigmatic and perplexing work, clearly made under the heavy influence of homesickness as Tarkovsky worked and lived in Italy at the time. As usual with Tarkovksy the film's visual poetry is stunning, long uninterrupted shots and pictorial musings lead you in the state of trance. Also the fear of a nuclear war that permeated the world at the time can be traced through the character played by Erland Josephson who believes that the world is coming to an end. He would play a similar character in Tarkovsky's next and last film 'The Sacrifice'.

    As is expected of Tarkovsky he raises questions in this movie that don't have to be answered, it is a spiritual journey that has to be taken along with the writer (Yankovskiy) in an attempt to find the needed answers. It is probably Tarkovsky's most enigmatic and perplexing work, clearly made under the heavy influence of homesickness as Tarkovsky worked and lived in Italy at the time. As usual with Tarkovksy the film's visual poetry is stunning, long uninterrupted shots and pictorial musings lead you in the state of trance. Also the fear of a nuclear war that permeated the world at the time can be traced through the character played by Erland Josephson who believes that the world is coming to an end. He would play a similar character in Tarkovsky's next and last film 'The Sacrifice'.

  • Jul 13, 2017

    If a work of art is the pleasure of a journey to be made then this film by Tarkovsky is one of the most beautiful spiritual journeys. Art is not about the answers that it offers about life but furthermore about the most interesting questions that it poses.

    If a work of art is the pleasure of a journey to be made then this film by Tarkovsky is one of the most beautiful spiritual journeys. Art is not about the answers that it offers about life but furthermore about the most interesting questions that it poses.

  • Dec 23, 2016

    Recuerdos, antiguas vivencias, momentos que han quedado en el pasado, pero no en el olvido. Nostalgia. A veces lo más cercano a revivir, es recordar. Para ver una película de Tarkovski y debido a la naturaleza de las mismas, es necesario hacerlo en el estado y momento adecuados. Es como intentar leer un libro en la noche; lo más probable es que cuando menos lo esperemos, ya estemos cerrando los ojos y no precisamente porque el libro sea malo. Lo mismo ocurre con las películas de Andréi. Uno de sus filmes es un espléndido libro, que se aprecia de la mejor manera en el momento adecuado. Una vez más, Tarkovski juega con el espacio y la naturaleza, cuidando cada encuadre como si de una pintura se tratara. Ninguna escena es presentada al azar. La misma lentitud con la que fluye el filme es probablemente lo que facilita esta situación. Podemos pausar la película en cualquier instante y lo que vamos a tener en pantalla es siempre una bellísima estampa. Y no sólo en la naturaleza; Andréi es capaz de encontrar la belleza hasta en un simple y viejo cuarto. Cada elemento encuentra su espacio ideal frente a la cámara, incluso las personas, aunque su distribución pueda notarse antinatural. En este filme, a diferencia de sus anteriores, podemos ver a Tarkovski utilizando trucos de cámara más de lo normal. Este detalle no ofrece más que ventajas, aportando una mayor estructura y significado a la narrativa. Es sorprendente como un director puede decir tanto con tan poco. Los diálogos son generalmente escasos, pero aún así trascendentes y reflexivos. Dichos diálogos siempre se encuentran convenientemente acompañados de extensos silencios, que parecieran presentarse para darnos tiempo a analizar cada palabra dicha. A pesar de lo lenta y contemplativa que pudiera resultar la película, la mayoría de los momentos son relevantes. Desviar la atención durante uno de éstos, podría significar perder el hilo y dejar de comprender lo que está ocurriendo. La lista de ideas y conceptos que trata el director a lo largo del filme es extensa. Arte, estética, religión, política, filosofía; Tarkovski encuentra en sus películas el pretexto perfecto para desarrollar estos y más temas. Se trata de una cinta sumamente balanceda en todos los aspectos de una manera en la que sólo Andréi puede hacerlo. Un maestro de la reflexión, la contemplación y la belleza.

    Recuerdos, antiguas vivencias, momentos que han quedado en el pasado, pero no en el olvido. Nostalgia. A veces lo más cercano a revivir, es recordar. Para ver una película de Tarkovski y debido a la naturaleza de las mismas, es necesario hacerlo en el estado y momento adecuados. Es como intentar leer un libro en la noche; lo más probable es que cuando menos lo esperemos, ya estemos cerrando los ojos y no precisamente porque el libro sea malo. Lo mismo ocurre con las películas de Andréi. Uno de sus filmes es un espléndido libro, que se aprecia de la mejor manera en el momento adecuado. Una vez más, Tarkovski juega con el espacio y la naturaleza, cuidando cada encuadre como si de una pintura se tratara. Ninguna escena es presentada al azar. La misma lentitud con la que fluye el filme es probablemente lo que facilita esta situación. Podemos pausar la película en cualquier instante y lo que vamos a tener en pantalla es siempre una bellísima estampa. Y no sólo en la naturaleza; Andréi es capaz de encontrar la belleza hasta en un simple y viejo cuarto. Cada elemento encuentra su espacio ideal frente a la cámara, incluso las personas, aunque su distribución pueda notarse antinatural. En este filme, a diferencia de sus anteriores, podemos ver a Tarkovski utilizando trucos de cámara más de lo normal. Este detalle no ofrece más que ventajas, aportando una mayor estructura y significado a la narrativa. Es sorprendente como un director puede decir tanto con tan poco. Los diálogos son generalmente escasos, pero aún así trascendentes y reflexivos. Dichos diálogos siempre se encuentran convenientemente acompañados de extensos silencios, que parecieran presentarse para darnos tiempo a analizar cada palabra dicha. A pesar de lo lenta y contemplativa que pudiera resultar la película, la mayoría de los momentos son relevantes. Desviar la atención durante uno de éstos, podría significar perder el hilo y dejar de comprender lo que está ocurriendo. La lista de ideas y conceptos que trata el director a lo largo del filme es extensa. Arte, estética, religión, política, filosofía; Tarkovski encuentra en sus películas el pretexto perfecto para desarrollar estos y más temas. Se trata de una cinta sumamente balanceda en todos los aspectos de una manera en la que sólo Andréi puede hacerlo. Un maestro de la reflexión, la contemplación y la belleza.

  • Oct 15, 2016

    Nope. First viewing, nope. Beautiful but incomprehensible. Easily my least favourite Tarkovsky.

    Nope. First viewing, nope. Beautiful but incomprehensible. Easily my least favourite Tarkovsky.

  • Apr 11, 2016

    Andrei Tarkovsky's "Nostalghia" is about as perfect as a film can get. Giuseppe Lanci's cinematography is stunning. Not to be missed.

    Andrei Tarkovsky's "Nostalghia" is about as perfect as a film can get. Giuseppe Lanci's cinematography is stunning. Not to be missed.