The master of deconstructing the soul - a superficial impression of "Nostalgia"

I have always been afraid to touch Tarkovsky's films, for fear that any interpretation of the master would be a blasphemy. But since the master said in "Sculpting Time": Compared with professional film critics, I am more willing to contact those who are touched by my films, and I am more willing to receive letters from them that are like confessing their lives. Then I can also dare to be cheeky and talk about a little bit of my impression of "Nostalgia".

If some of the great films in history have many admirable innovations in form, then Nostalgia is definitely not. It is a dismantled reconstruction of the structure of the film. If you evaluate it in the ordinary cinematic sense, you won't find any incisions and adjectives. Indeed, as the master said: my work principle is based on questioning existing theories, and expressing my interpretation of the basic principles of art through an impulse has become a part of my life.

Nostalgia is about childhood memories and reflections on the present. This is a powerful proposition. The constant interrogation of reality is intertwined with the childhood that occasionally flashes in my mind, like a dagger that cuts through my thoughts, and then forces the collage, making the film sharp and angular. As Tarkovsky himself describes it: a sculptor is faced with a piece of marble, the image of the finished product in his mind is vivid, and he chiseled away the parts that did not belong to it.

Although the structure of "Nostalgia" is too special compared to other films, so that the viewer has to follow the director's lens to inquire about its themes and ideas patiently, but the whole story is well organized and will naturally enter the characters. ,Provoke thinking.

The structural framework I understand is as follows:
Approach-Question-Thinking-Conflict-Question-Abandonment-Guide-Redemption-Hope-

Rebirth way of thinking. How many possibilities are there for structural reconstruction, and how pure symbolism scenes and shots will be expressed when describing a kind of inner thinking. All of this is experimental, astonishing, and at the same time provokes bouts of thought—what is the point of a film that is structured around it? When expressing metaphysical themes, whether to use the frame to lead the audience to visualize the film in their minds, and then clarify the ideas that the film is intended to convey.

Obviously, before reading "Carving Time", it is not enough to just read "Nostalgia", and I hope that the master can trigger more thinking.

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