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  • Nostalgia



    Tarkovsky seemed to become more minimalist as his films went along and this might be his most minimalist with barely a thread of plot. It all feels filmed in the same square mile of ruins and stone buildings somewhere in Italy. The camera is slow with some tracking shots moving a matter of feet and inches, the sets are sparse, and there are really only three main roles in the film. Gorchakov may be Tarkovsky’s most immobile protagonist. He dreams…

  • The Swimmer

    The Swimmer


    I imagine if Antonioni adapted Heart of Darkness it would look something like this (but with more architecture). Upper middle-class Burt Lancaster swims up the river of his life encountering past mistakes and regrets with each stop chipping away at the facade he’s built up for himself. As the film progresses it becomes more surreal and dreamlike with Lancaster becoming more delusional as he reaches his house of broken dreams, a decaying bourgeois inner station or Kurtz compound. The Apocalypse Now of upper middle-class ennui.