[-20 films]
Mother and son see the same dreams. Day and night, shaking in pain of waiting. The loss is there, in the roar of the branches, in the train in the distance seen through the grass in autumn. He walks and is holding the mother, become small and thin, sometimes it stops and when the lies in the belly of a tree, the image expands. The existence seems Flemish painted colors, and yet everything follows its order, the person in pain and disease also seems to have been part of Aleksandr Sokurov's dream scenario. Before the course of events, without external interference, the failure of language finds refuge in the picture. The beautiful paintings that Sokurov's film offers a view of pantheism are dreamed and longed for, where the God who dwells in the breast only shake the conscience by hiding in a dense forest plots. Sokurov's film is a deep place where the viewer is ferried to the darkest depths of intimacy. A mother and son are in another place, at the edge of the world, and expect after having seen and heard everything. The nightmare of the disease rests in the eyes of his son who occasionally turns to presage the event as inevitable. After interrogating silenziosamente il paesaggio e la natura nella sua crudele ma sublime trasformazione, il figlio fa ritorno a casa. Silenzio, ancora. La cinepresa chiude sulla mano stanca della donna che, ormai senza vita, tiene incastrata tra le dita una farfalla, simbolo di fragilità e bellezza. Al figlio rimane il sogno che si paga sempre col prezzo del mattino.
by Alessandra Pigliaru
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