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The Mirror (Zerkalo, 1975) - 9
Hauntingly hermetic movie. Several plots and historical archives entangled in a jigsaw puzzle. All the events appear to revolve around one object whose identity is unclear. Maybe it's the prominent woman, or maybe the man whose voice interacts with the woman and other characters throughout the film. Dialogues point to personal and familial ordeals of the seemingly main character couple. The desultory narrative is fascinating, but what truly haunts me is the visual experience. This aspect is particularly noteworthy; as if Tarkovsky intended to lure the viewers with sheer contrasts and movements of striking imagery intertwined in fluid disorder. The picture is highly poetic; quality imparted by the wonderful cinematography (both colour and B&W) and sensible camera work. The sound design, with excellent music, enhances the visual cunning. The cinematic experience is a multifaceted treasure; a narrative puzzle infused in a scenic sculpture that occasionally recalls to video art. There are nostalgic scenes, inspiring scenes, impenetrable scenes, and even scenes that evoke the cinematic styles of Bergman and Antonioni. Postmodern cinema in all its splendor. The only drawback, in my opinion, are the rare moments when Tarkovsky seems so impressed with his own artifice that he drags it into a redundancy skimming the ludicrous. Although minimal, these overboard moments inconveniently carry my attention towards the artificiality of the work, distracting as a result. If not for these immersion glitches, I would certainly rate The Mirror a perfect 10. Yet another masterpiece that lures me to a waking dream. So far, Tarkovsky's films have caused me a deep impression, and The Mirror is no exception; it's an amazing experience that keeps haunting me days after. I love it and I think every cinephile should give it a try!
The Mirror (Zerkalo, 1975) - 9
Hauntingly hermetic movie. Several plots and historical archives entangled in a jigsaw puzzle. All the events appear to revolve around one object whose identity is unclear. Maybe it's the prominent woman, or maybe the man whose voice interacts with the woman and other characters throughout the film. Dialogues point to personal and familial ordeals of the seemingly main character couple. The desultory narrative is fascinating, but what truly haunts me is the visual experience. This aspect is particularly noteworthy; as if Tarkovsky intended to lure the viewers with sheer contrasts and movements of striking imagery intertwined in fluid disorder. The picture is highly poetic; quality imparted by the wonderful cinematography (both colour and B&W) and sensible camera work. The sound design, with excellent music, enhances the visual cunning. The cinematic experience is a multifaceted treasure; a narrative puzzle infused in a scenic sculpture that occasionally recalls to video art. There are nostalgic scenes, inspiring scenes, impenetrable scenes, and even scenes that evoke the cinematic styles of Bergman and Antonioni. Postmodern cinema in all its splendor. The only drawback, in my opinion, are the rare moments when Tarkovsky seems so impressed with his own artifice that he drags it into a redundancy skimming the ludicrous. Although minimal, these overboard moments inconveniently carry my attention towards the artificiality of the work, distracting as a result. If not for these immersion glitches, I would certainly rate The Mirror a perfect 10. Yet another masterpiece that lures me to a waking dream. So far, Tarkovsky's films have caused me a deep impression, and The Mirror is no exception; it's an amazing experience that keeps haunting me days after. I love it and I think every cinephile should give it a try!