Freaktana A Major Disappointment

Crwthod A lot more amusing than I thought it would be.

Geraldine The story, direction, characters, and writing/dialogue is akin to taking a tranquilizer shot to the neck, but everything else was so well done.

Scarlet The film never slows down or bores, plunging from one harrowing sequence to the next.

EyesWideClockwork A searing, heartbreaking love letter to Russia. This film should be seen; a film that reaches deep into your soul. It's pure, as Tarkovsky was. The images alone, with no words, can profusely affect me, and can leave you close to tears of beauty. Isn't this Tarkovsky at his most ethereal, and transcendent? The shots move ever so slowly, like waves, pulling in from the tide, slowly lapping on the shore...this is what it reminds me of. It feels very holy, and delicate; like a forbidden fruit; something that we should not be able to see, but, alas, we have had a chance to gaze upon it. It feels as if every slow step, and movement, is a painful and melancholy step into deep, lost memories. The language here, in this, is a rare moment in life, to witness such profundity; here, maybe one of Tarkovsky's Magnum Opus, we see him elevate to the highest transcending level, of language and alike; of one who understands the world deeply, and passionately. Surely, the opening scene is one of the most beautiful humanity has witnessed. Domiziana Giordano here externalizes beauty, almost like a goddess; ethereal. On the screen, we are witnessing paintings.. There's really no other film like Nostalgia. There are so many scenes here that are extraordinary. Words can't begin to describe the fire scene, juxtaposed with Beethoven; words can't capture the essence of this scene in the way Tarkovsky's images can. The candle scene may sear itself into your subconscious; slowly, but it will be there. Tarkovsky has the gift of bringing the beauty, from ordinary things; to make them beautiful, if not more than normally considered beautiful things; it shows he sees the world in a different way, a special way; someone who is truly alive. It truly is in another dimension. The romance, and relationship in the film is pure, powerful, and melancholic; it is awe-inspiring to watch these conversations; they are truthful, and can leave you gasping, as you have never seen emotions, quite portrayed in such a way. The film also brings into question human advancement; how we have come so far from our simple years, when we were merely in nature itself; humanity has changed, and with this, comes the many problems we have now; anxiety and worry plague many; alienation creeps on our minds; because life is so quick now, and everyone must become something important; the pressure is great; a far cry from our simpler days.

Jose Cruz No, you can't. Tarkovsky is the ultimate art filmmaker and he demonstrates it again in this great picture, I would say, his best picture that he made outside of Russia. The other one (The Sacrifice) is also great, but I would prefer this over The Sacrifice, which is a picture that sacrifices a bit too much of Tarkovsky trademarks such as being a picture driven by images, instead dialogue takes center stage. Here, by contrast, we have a picture that is driven mostly by images, hence, being a highly original and powerful exercise of film-making.The film also has a deeper plot than The Mirror, though it is still not a plot driven film like Solaris. It shows the influence of The Mirror on Tarkovsky films: before he made The Mirror, his films were still slightly more conventional but after they became much more avant garde and audacious.This film is essential for film buffs and I might say it is perhaps one of the top 100 greatest films ever made.

chengiz Tarkovsky being pretentious is like Lucas using CGI; but he is undoubtedly a genius - because of his other films. In Andrei Rublev, you can see his sheer hard work: events unfold before your eyes - the balloon, the clown, the orgy, the raid, the awesome bell - all these scenes are masterpieces. Solaris has the mood and sets done just right, which causes an overwhelming uneasiness in the viewer.Nostalghia has nothing of the sort. I actually didn't mind the last couple of scenes - the immolation and the candle. It was the rest of the movie that was - how shall I put it - duller. Tarkovsky is just being lazy here. Not only has he given up any attempt at hard work, he repeats and re-repeats himself - from his own other movies and then within this movie itself.The scenes of things under water - done in Andrei Rublev. The family life scenes (including ending) - same as Solaris. Rain inside house - cf snow inside church in Rublev. Philosophical conversations about the same old topics - done better in Rublev. Fog - done in Solaris. Unblinking closeup of painting - you get the idea. Even the immolation reminds of the cow being set on fire in Rublev. There is little that's original here - the baths, the candle scene. That's about it.If this is your first Tarkovsky you might like it better. But this is a pretentious, unoriginal, tired work with few redeeming qualities.

CinefanR Visually beautiful film about alienation and faith. Slow paced, with the exquisite photography and unconcealed philosophical dimension that have become Tarkovski's trademark, "Nostalghia" demands attention and ultimately delivers. The famous "candle scene" is a poetic, striking and exasperating visual representation of faith, redemption and the artist's mission. "1+1=1", "Ode to Joy", the girl's speech, Domenico's plea- all these will remain with you for a long time.Tarkovski's movies don't seem biased; they don't make categorical statements, but raise questions that remain mostly unanswered. For Tarkovski, the movie is a search, a personal catharsis. It's true that Tarkovski speaks through all his characters, but what he has to say deserves attention. This won't be your typical "entertainment", but a thought-provoking and fascinating journey into the mind of a great film maker.