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alexander sokurov mother and son

Mother and Son, with its score of references to the tradition of Western art, already articulated the idea of humans being integrated in a block of time and space that constitutes, as it were, an imaginary museum of variable and endless possibilities. Following in his father's path, Aleksei attends military school. Mother and Son 3 out of 5 stars. He was born with a disability because of an anatomic defect of his leg, in 1951 in Podorvikha village in Siberian Russia. Sokurov’s time in Mother and Son is not “after”, but rather “in between” – a time of the interstice. Of the former (the story of a hapless son incapable of tending to his dead father’s funeral arrangements), John Mackay aptly pointed out to the feeling of “surplus” of death.4 The film thus spoke to the very belated coming to terms, in Russia, with the horrors of Stalinism, kept under a lid until the collapse of the USSR. Read movie and film review for Mother and Son (1997) - Aleksandr Sokurov, Aleksandr Sokurov, Alexander Sokurov on AllMovie - Mat i Syn is quite literally a film unlike any… One of most important contemporary filmmakers, Sokurov worked extensively in television and later graduated from the prestigious film school, VGIK, in 1979. However, there is another form of time-image other than the crystal-image, the transcendental time-image. 1 As I noted elsewhere, Mother and Son proposes a new phenomenology of time, the feeling of which it nearly abolishes to remarkable effect. He graduated from the History Department of the Nizhny Novgorod University in 1974 and entered one of the VGIK studios the following year. Nonetheless, this despondence and sorrow fuelled the artist’s Muse – The Second Circle and Mother and Son being perhaps his two greatest films. As Elena Gracheva notes, in Sokurov, art is what renders the invisible visible, but without stirring or breaking down the flatness of the cover that warrants the mystery’s integrity – thereby underlining the importance of bi-dimensionality in painting and cinema.3 Sokurov also made disparaging comments about modernism and twentieth century art at large, lamenting its loss of tradition. Jeremi Szaniawski is Assistant Professor in Comparative Literature and Film Studies at the University of Massachusetts, Amherst. With Andrei Shchetinin, Aleksei Neymyshev, Aleksandr Razbash, Fyodor Lavrov. Mother and Son (1997, Russia/Germany, Alexander Sokurov) Given that Sokurov's 'Alexandra' has finally received a UK release, a full year after I saw it at the London Film Festival, it's perhaps useful to look at one of Sokurov's previous films about family bonds. ‘Father and Son’ forms the second part of an intended trilogy by Sokurov, best known for last year’s ‘Russian Ark’. Conversely, there was undeniably a vibrant, ebullient (juvenile, almost) quality to Sokurov’s Perestroika films (Skorbnoe beschustviye [Mournful Insensitivity, 1982, released 1986], Dni zatmeniya [Days of the Eclipse, 1986, released 1987], and Spasi i sokhrani [Save and Protect, 1989]). Time Out is a registered trademark of Time Out Digital Limited. Mother and Son is a story of deep and tender affection between a mother and her son. As is well known, Russian Ark was shot entirely in the Hermitage, one of the world’s greatest art collections. But was it only in order to come closer to the contemplative, absorbing regime of the religious icon as mediated here through the secular mystery of the romantic sublime that Sokurov had decided to remove, inasmuch as is possible, the feeling of passing of time from his film? But in the 1997 opus – much like its warmer, sepia and gold hues are in contrast with the wintry, muted chromatic palette of The Second Circle – the promise of a reunion in the afterlife is asserted. With a visually stunning, quiet intensity, director Alexander Sokurov awakens the senses to the world of nature, human relationships, and death in this film about the poignant last hours of a dying mother and the son who cares for her. He watches her sleep, takes her for a walk (or rather carries her), reads to her, gives her medicine, and, when she falls asleep, goes for a walk alone. By entering your email address you agree to our Terms of Use and Privacy Policy and consent to receive emails from Time Out about news, events, offers and partner promotions. Alexander Sokurov: Mother and Son “Mother and Son“ is a Russian film directed by A. Sokurov in 1997. Aleksandr Sokurov - Mat i syn AKA Mother and Son(1997) Quote: In festival circles, Russian director Alexander Sokurov has long been dubbed the next Andrei Tarkovsky (Solaris, Andrei Rublev), but Mother And Son, his 14th feature, is his first to attract much attention in the U.S. Avoiding the kitsch such reproductions may have yielded, director Aleksandr Sokurov resorted to a variety of practical tricks: in some shots he used anamorphic, distorting lenses applied directly onto the camera; in other instances, the image was actually shot in the mirror reflection of miniature landscapes and ruins – accounting for the many fixed, static compositions in the film. Much as the ghost of Stalin was never entirely gone from Russia (through the 1990s and early 2000s it was stupefying to see the number of cab drivers in St. Petersburg or Moscow who adorned their cars with an effigy of the Batyushka – as many as those who would boast an Orthodox icon, making the two essentially indistinguishable in their function), so was Sokurov’s “retreat” into contemplative and slow cinema never entirely bereft of ideological agenda and implications. Mother And Son [1997] [DVD] Alexei Ananishnov (Actor), Gudrun Geyer (Actor), Aleksandr Sokurov (Director), Alexander Sokurov (Director) & 1 more Rated: Universal, suitable for all Format: DVD 4.1 out of 5 stars 21 ratings Since Sokurov envisages the twentieth century as having lost this transcendental ability, we can interpret his aesthetic project in Mother and Son as the antidote to contemporary art: a blending of religious traditions with “natural religion” – as expressed in the painterly sublime. They have lived alone for years in their own private world, full of memories and daily rites. There is little question that, after the funeral of Krug vtoroy (The Second Circle, 1990) and the ghost of Chekhov in Kamen (The Stone, 1992), through his use of distorting lenses and mirrors in Mother and Son, Sokurov had accomplished yet another memento mori. In Father and Son, Alexander Sokurov unabashedly tiptoes over the thin line between an ethereal connection and incestuous love, and bestows onto the world cinema probably one of the most brilliantly homoerotic controversies of all time. This is not an entombment, then, but rather an en-womb-ment; no funeral veil so much as a placenta-like wrapping – with the quasi-uterine and aquatic, filtered sound design and promise of rebirth contained therein. Mother and Son (Alexander Sokurov, 1997) Gary Morris; December 1, 1998 Even the cinematic frame isn’t safe from Sokurov’s grim sleight-of-hand. In this film, the feeling of oppression is everywhere: not only in the faces of the main characters, not only in the claustrophobic, dimly-lit … The case is no different with Sokurov's latest film, Mother and Son , which depicts the final day of an old woman's life as she is being cared for by her son. Alexander Sokurov ("Russian Ark") starts his trilogy about family bonds and memory. During his early period, he produced numerous documentaries, including The Dialogues with Solzhenitsyn and a reportage about Gri… As each face new choices, however, they are forced to realize that they may have to let go of their dependence on each other. But Alexander Sokurov's Russian Ark has every right to the claim. The viewer pays a high price for a film. The film begins before the first scene and ends after the last, with the sound of wind in the trees and the songs of birds. Sometimes they seem like brothers. Jacques Rancière, “Le cinéma comme la peinture?”. The characters speak to one another from an unlikely beyond. Award-winning Russian filmmaker Alexander Sokurov (Russian Ark) directs the intimate drama Father and Son (Otets I Syn), a companion piece to his 1996 film Mother and Son. He too is absent when his mother dies (in The Second Circle, the son arrives too late). In his Cahiers article “Le cinéma comme la peinture?”, Rancière challenged the lofty spiritual aspirations of Sokurov by dismantling the very notion of bi-dimensionality and “pictoriality” in his films – and the rejection of the 20th century contained therein. His next, Father and Son, is a classic Sokurov, a mythical, lyrical film that should be seen as the second part of the family trilogy that started with Mother and Son … Déjà vu! It is an important piece in Sokurov´s art creation as it was his first internationally acclaimed feature film. Yet the mother dies in the end, and so this is not what Rancière (in reference to Bela Tarr’s films) has identified as the “time after”7. To be sure, seldom has film been more transfigured, to the point of resembling a series of paintings. Aleksandr Sokurov's previous films have borne such titles as. A time of waiting, possibly outside of time. Click here to make a donation. Many have pointed out to the a-chronological and “fairy tale” nature of the film. "Mother and Son" by director Aleksandr Sokurov is a visual masterpiece of cinematography reminiscent of Impressionistic paintings by Monet, Renoir, and Cezanne. Alexander Sokurov’s Mother and Son is a son’s farewell to his dying mother. Declaring the ‘End’, Signaling a Renewal: Stairways to Paradise: Youssef Chahine and, Waiting for Rain: Oppression and Resistance in Youssef Chahine’s, An art historian would easily find a wealth of references in. A father (Father) and his son Aleksei share a roof-top apartment in an unidentified seaside city. Aleksandr Sokurov talks to Steve Rose about Soviet spies, fallen dictators – and … His father was a Red Army veteran of WW2. Murmurs from a Shadowless Land: Fragmentary Reflections on the Cinema of Werner Herzog, Criminals Against Decoration: Modernism as a Heist, Claustrophobia and Intimacy in Alex Ross Perry’s, Thresholds of Work and Non-Work in Tulapop Saenjaroen’s, “Rouch Isn’t Here, He Has Left”: A Report on Building Bridges: The Cinema of Jean Rouch, The 34th Cinema Ritrovato Has Full Resuscitation under COVID, Women at the 2020 Toronto International Film Festival, A Vitalising Cinema in an Agitated Age: The 58th New York Film Festival, Your Daughters Come Back to You: The 28th Pan African Film and Arts Festival. This belief ties in with the Russian man’s equally strong belief that the redemption of the West, now in decline, would come from Russia, harboring and protecting the great ghost, the great spirit of the West, now imperiled. This is what Fredric Jameson has identified in other Sokurov films as “l’emploi du temps”,6 a time of routine and contemplation, perambulatory or fixed, which never seems to end – nor ever to start, for that matter. Aleksandr Sokurov’s Mother and Son (1997) contains examples of what I am calling the transcendental time-image. So that the whole, be it in the wanderings in nature or even the conversations between the son and the dying mother, seems to take place in a perpetual present, an eternal spring time that is also an endless fall, an ever repeated routine, the universal cyclical repetition of life and death. Sokurov clearly stated – most recently in his Francofonia (2015) – that the redemption of humanity (and the latter’s highest and noblest mission) was to rescue and uphold this tradition. He did so by demonstrating the greater proximity of Sokurov’s Tikhiye stranitsy (Whispering Pages, 1994) with the tradition in turn-of-the-century photographs for a flattening of space in order to move away from representational realism, rather than with the painterly tradition per se. Subscribe to Senses of Cinema to receive news of our latest cinema journal.Enter your email address below: The story of a mother slowly dying while in the care of her son, Mat i syn (Mother and Son, 1997) was lauded worldwide at the time of its release – first and foremost for its stunning visuals of idyllic countryside and misty forests, deeply informed, as most critics noted, by the paintings of Caspar David Friedrich.1. 83m/C DVD . Before Empire Come: Mother and Son (Aleksandr Sokurov, 1997) The story of a mother slowly dying while in the care of her son, Mat i syn (Mother and Son, 1997) was lauded worldwide at the time of its release – first and foremost for its stunning visuals of idyllic countryside and misty forests, deeply informed, as most critics noted, by the paintings of Caspar David Friedrich. Second chapter of Alexander Sokurov's trilogy on family relationships, the first being “Mother and Son”. The film was entered into feature film competition at the 2003 Cannes Film Festival. A lexander Sokurov’s Father and Son, about the relationship between a young father (Andrey Shchetinin) and his grown-up son, Alexei (Aleksey Neymyshev) is disturbing in many ways.The first sequence shows close-ups of athletic bodies firmly intertwined. The question “what could have motivated Sokurov, the mournful, but vibrant filmmaker of films such as Days of the Eclipse, to retreat into a cinema increasingly preoccupied with death and contemplation, through the 1990s?” is thus correlated to the equally problematic “how is a superb chamber artist like Sokurov […] moved […] to reflect on the lives of ‘great men’ like Lenin, Hitler and Hirohito?”5. by David Neo Volume 5, Issue 6 / November 2001 9 minutes (2243 words) Sokurov creates some stunningly beautiful archetypal images in Mother and Son. Aleksandr Sokurov’s films include Russian Ark, A Russian Youth, Mother and Son, Faust… The Spiritual Worlds of Alexander Sokurov PART TWO: Sokurov's Search for Spiritual Identity in "Father and Son" & Other Films "We shouldn’t be afraid of difficult films, we shouldn’t be afraid not to be entertained. It is however the film’s treatment of time, rather than its fabled visuals, which calls today for further inquiry. Dreamy and eminently contemplative, with its near absence of plot, the film thus also boasted a subtle reflexive quality, which was lost on many critics, who opted to marvel at the painterly (and escapist) quality of it all. While the first contradiction could not be more salient in Mother and Son, the latter cognitive dissonance is also exemplified in the film – and is more apparent today than it was twenty years ago. Alexander Sokurov's Russian Ark was a great success worldwide last year: even in America, the bravura piece in one shot attracted thousands of viewers. This is not a post-narrative time as Rancière reads it in Tarr, even as both filmmakers show an equal interest, in this antechamber of sorts, for the fabric of the sensitive (“l’étoffe sensible”). Otets i syn) is a 2003 Russian drama film directed by Alexander Sokurov. Aleksandr Sokurov, Director: Russkiy kovcheg. He also posited the use of sound in Sokurov as a third dimension, complementing and complicating the allegedly flat images and frequent absence of reaction shots in his films. Even the soundtrack does not quite contradict this temporal indeterminacy, signifying little in terms of narrative progression. Even the film’s carefully produced sound design, itself replicating the sensation of a cotton-like coating, enshrouded the whole (including the viewer) like a funeral veil. Michelle Carey • Daniel Fairfax • Fiona Villella • César Albarrán-Torres. In Mother and Son, death is thematised through the mother’s fate, but also through the network of allusions of the romantic representations, and the proximate nature of anamorphosis and the Vanitas as a genre (think of the anamorphic skull in Holbein’s amply commented The Ambassadors). Most of Sokurov's early features were banned by Soviet authorities. Sokurov’s story is one of a torn connection between a father and son, a painful return and an uncertain future. A promise is hinted at – and articulated later in the more triumphant if equally melancholy Russkiy kovcheg (Russian Ark, 2002) – of a renewed faith, and the possibility for these “eternal souls” to sail forever. The mother is old and sick, and they spend the rest of her life in what looks like the ruin of a nineteenth century country house. I’m not sure whether the trilogy will ever be completed. Aleksandr Sokurov's previous films have borne such titles as The Lonely Voice of Man, The Degraded and Sad Insensitivity, accompanied by documentary 'elegies' - Alexei is sitting on his father’s lap. Father and Son (Russian: Отец и сын, translit. With a visually stunning, quiet intensity, director Alexander Sokurov awakens the senses to the world of nature, human relationships, and death in this film about the poignant last hours of a dying mother and the son who cares for her. In other words, Rancière debunked the proverbial “anxiety of influence” in Sokurov, or his Oedipal rejection of the Soviet and/or modernist father, and the reactionary stance lurking behind Sokurov’s death-ridden characterisations and overly aestheticised and de-populated realms. Fractal Images of Memory in Mother and Son, Part 2 Alexander Sokurov. Founded in 1999, Senses of Cinema is one of the first online film journals of its kind and has set the standard for professional, high quality film-related content on the Internet. With Mother and Son, Sokurov posited himself as a “therapist of souls” for some, while reminding others of a forgotten function of art. More importantly, Rancière showed the contradictions of the professed bi-dimensionality in Sokurov’s corpus, by highlighting elements of depth and time in his films. In his documentary (think only of Sovietskaya Elegiya [Soviet Elegy, 1989]) Sokurov laid the Soviet heritage to rest in a famous series of tableaus of its leaders cross-dissolving on top of one another, leaving a hapless, blob-like Boris Yeltsin (whom Sokurov knew well and even momentarily attempted to “enlight”, as he recounts in his collection of essays V tsentre okeana [St. Petersburg: Amfora, 2012]) to face the task of running a crumbling empire. Let’s come to Mother and Son (1997). In this paper, I will be relating the time-images found in Mother and Son to the notion of fractals. And not in money. In so doing, he purported not only to elevate cinema to the rank of high art, but also to re-inscribe a wayward medium into the great tradition, concocting a more potent remedy for the viewer than any comfort the son might have given his ailing mother: a glimpse into life everlasting. Mother and Son The ultimate heartrending elegy by ALEXANDER SOKUROV for the deepest human relationship (nostalgia, loss, solitude) Universal Award Berlin Film Festival. Following the death of his wife, a handsome father (Andrej Shetinin) shares an apartment with his son (Alexei Neimyshev). He imputed this injustice to the cultural and spiritual vacuum of the day, proposing a film that would do away with the 20th century, and inviting its viewer to another approach of cinema, of time, and existence. We already have this email. If you are an Australian resident, any donations over $2 are tax deductible. Elena Gracheva, “Kolybelnaya” in Arkus Lyubov (ed.). He is the great Russian director who once shot a whole film in a single take. The slow, morbid quality of Sokurov’s films, and particularly in his films of the 1990s (the post-Soviet and pre-Putin period) is inescapable. As Jacques Rancière has pointed out, there exists, in the films of Sokurov, a fundamental contradiction: between the undeniable technological and artistic experimentation in the director’s works, and the often reactionary, conservative views he holds in interviews.2 One could also point out to the discrepancy between Sokurov the aesthete and Sokurov the pragmatic actor of the cultural sphere, often obliquely paying lip service to an unlikely master while posing as a detached, a-political artist. Of Massachusetts, Amherst the point of resembling a series of paintings Comparative... Sitting on his father 's path, Aleksei attends military school together in a single take to... Alexei Neimyshev ) nos presenta en esta película otro poderoso alexander sokurov mother and son de intensa belleza y emociones by his film.. Paper, I will be relating the time-images found in Mother and Son, a return. 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