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Andrei Rublev
Amiya 2022-03-25 09:01:10
Taking the icon painter Andrei Rublev in the 15th century as the main line and taking it as a clue, it describes the long history of Russia's internal and external troubles in that era. Andre picked up the brush and put it down several times, all of which were affected by the situation of the people being oppressed, slaughtered and re-emerged. A large number of magnificent vistas and long shots in the film are rich in the director's deep national complex, and the final bell casting is very encouraging, while the director and the protagonist of the same name are stuck across time and space with the same broadness. of compassion.
Extended Reading
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Colleen 2022-04-24 07:01:14
The film has gone beyond the narrative to a poetic expression, the footage of the old tower is like a stare, all suffering is sublimated.
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Betsy 2022-03-27 09:01:09
20140515jtl Tarkovsky, a huge work, divided into chapters, large scenes with thousands of people at every turn, orderly scheduling, and even every detail is perfect, Tatar invasion, bell casting, crowd scenes + long shots are superb. There is also a meditation on religion, which is generally a reflection on the history of the Russian nation, not a simple biopic. Too many long shots and big scenes are overwhelming. Only after experience can you have a solid life. 4.5
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Kirill: [admiring one of Feofan's icon paintings] As Epiphanius said in "The Life of Saint Sergeius," "Simplicity, without gaudiness." That is what this is. It's sacred... Simplicity, without gaudiness - you can't say it better.
Feofan Grek: I see you are a wise man.
Kirill: If so, is that a good thing? If one is ignorant, isn't it better to be guided by one's heart?
Feofan Grek: In much wisdom there is much grief. And he who increases knowledge increases sorrow.
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Andrey Rublev: I see the world with your eyes. I listen to it with your ears. With your heart...