![]() ![]() ![]() In a sense, the fact that this echoes his earlier work so much is itself a critical part of the film's themes. Nostalghia is in some ways a derivative movie that finds Tarkovsky repeating elements that have show up throughout his filmography (rain indoors, men with white patches of hair, long & slow tracking shots), feeling particularly like the midway point beween Mirror and Stalker, but it uses those familiar elements in new ways to new ends. I find this to be an extremely frustrating consensus. It's just that something has to be the consensus pick for his lowest-ranked film, and this pretty clearly seems to be it. This isn't to say that it's broadly considered a failure or any such thing: Tarkovsky won Best Director at Cannes (tying with Robert Bresson for L'argent), and the film also took the Prize of the Ecumenical Jury (the second of three times a Tarkovsky film would win that award) and the FIPRESCI Prize. But 1983's Nostalghia, the sixth of those seven features and the firs made outside of the Soviet Union (it was shot in Italy, mostly in Tuscany), was regarded as being perhaps less major than the others right from the time of its premiere at the Cannes International Film Festival, and in all the years since, it's never quite shaken the reputation of being "the other one". ![]() Between 19, Andrei Tarkovsky directed a mere seven feature films, and every single one of them was greeted as a major work.
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