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In Sarkinsev's "Return", the boundaries between symbolism and deeper mysticism are intertwined. The film unfolds like a picture of a bitter dream, so that within a few days, the afterimage of the lens will still linger in your mind, leading you to explore the untouched meaning of the appearance.
The appearance of the boys' father kicked off the narrative. The boys have not seen him because when he left, the boys were still young, and the memories they had probably only existed in the young auditory echoes. He did not say where he had been, although he also mentioned that he had some unpleasant times in the north, perhaps in Siberia.
He is not the kind of close, gentle father. He always has the image of a stern, stubborn, and commanding father-shaping all the mysteries of patriarchy into an external, supremely masculine appearance. The boys didn't know everything about his past, but his father's return was enough to make them ecstatic.
For Westerners, "Return" can easily be parsed as a Freudian father-son entanglement. The dinner that night was very silent, only the concise and powerful words of the father played out from time to time. Beginning the next morning when the two children were going to take a fishing outing in their father's dilapidated car, the dramatic tension between the two generations quietly unfolded.
The older boy, Andrei, has a calm personality, eager to pay attention, and his clear face is innocent and interesting. (The young actor Vladimir Garlin, who played Andrei, drowned a few days before the director Sarkinsev showed the final sample for his actors and staff. Near the lake. If this is an abstract tragedy and is brought into the movie, then it will eventually involve the viewer in the most private grief.) Young boy Ivan-even though it is shown in the beginning of the film Fear of heights-but his personality is rebellious, repeatedly challenging his father's authority, and refuses to call him "dad". In the father’s struggle, trembling with tension and resentment, his tight lower lip proved to his father that he was in pain and fear, and at the same time desperately suppressed the identity he deserved (the role of the cared son). Desire. As the film progresses, this fierce inner warfare intensifies.
This holiday quickly became a father’s "business trip". Although the children were reluctant, they had to follow their father across land and water to reach an island. Here, the father needs to complete his task- A safe buried on the island was loaded on their return boat.
If you choose to treat "Return" as a mystery, you can waste your time guessing or looking for clues in the pull film, whether he is the Russian mafia, or working for Chechen terrorists, or nuclear materials Smuggled abroad. I think at the same time, you might be wrong about the director's intentions. The real mystery may be the journey itself, which is probably one of the most anticipated and exhausting road trips in film history.
In 1962, the great Russian director Andrei Tarkovsky won the Golden Lion Award at the Venice Film Festival with a film titled "Ivan's Childhood". In "Return", Sarkinsev changed the names of the two brothers to Ivan and Andrei from the original scripts of Vladimir Moiseenko and Alexander Novotsky, as such an effort For people of signs and symbols, Sarkinseff will definitely have a foreboding that the holy idol halo will eventually take care of himself-"Return" also won the Golden Lion Award in 2003.
Tarkovsky's imprint and personal symbols can be seen in this tribute production. The mental struggle is manifested in nature as a replacement between calm and extreme harshness: boys always reluctantly learn from their fathers how to master, or at least live with nature; strong winds blow through branches; a The dead bird lies on the beach. Sarkinsev is dedicated to discovering the true sounds of nature—especially, in the squally rain, the continuous and endless rain makes the sun more gentle and the breeze more empathetic.
Sarkinseff has always-to a large extent understandably-refused to confess the implications of his films, and simply told an interviewer that "Return" is about "interpreting a metaphysical incarnation: the soul from The transfer from mother to father.” And in the movie, no matter how ambiguous it is, it is undoubtedly confirmed-the maternal love in "Return" is greatly discounted, and perhaps, it also reflects that the image of a fading Russian mother is entering The process of constructing the role of the Russian father is difficult.
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