Tag: Russia

#112: Andrei Rublev

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910xriumnjrwh2hkqifbjtopp5r#112 – Andrei Rublev, (Андрей Рублёв), 1966, Andrei Tarkovsky
ru

An expansive Russian drama, this film focuses on the life of revered religious icon painter Andrei Rublev. Drifting from place to place in a tumultuous era, the peace-seeking monk eventually gains a reputation for his art. But after Rublev witnesses a brutal battle and unintentionally becomes involved, he takes a vow of silence and spends time away from his work. As he begins to ease his troubled soul, he takes steps towards becoming a painter once again.

#251: Come and See

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2s3okpyde7asmfwl7kocdubjsrh#251 – Come and See, (Иди и смотри), 1985, Elem Klimov
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The invasion of a village in Byelorussia by German forces sends young Florya into the forest to join the weary Resistance fighters, against his family’s wishes. There he meets a girl, Glasha, who accompanies him back to his village. On returning home, Florya finds his family and fellow peasants massacred. His continued survival amidst the brutal debris of war becomes increasingly nightmarish, a battle between despair and hope.

#399: The Cranes Are Flying

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nb5drdn9cuabbroim8ektni6xtb#399 – The Cranes Are Flying, (Летят журавли), 1957, Mikhail Kalatozov
ru

Veronika and Boris come together in Moscow shortly before World War II. Walking along the river, they watch cranes fly overhead, and promise to rendezvous before Boris leaves to fight. Boris misses the meeting and is off to the front lines, while Veronika waits patiently, sending letters faithfully. After her house is bombed, Veronika moves in with Boris’ family, into the company of a cousin with his own intentions.

#420: I Am Cuba

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s8xqgdpudbkfigfhfdu0edw9bkq#420 – I Am Cuba, (Soy Cuba), 1964, Mikhail Kalatozov
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An unabashed exercise in cinema stylistics, I Am Cuba is pro-Castro/anti-Batista rhetoric dressed up in the finest clothes. The film’s four dramatic stories take place in the final days of the Batista regime; the first two illustrate the ills that led to the revolution, the third and fourth the call to arms which cut across social and economic lines.

#438: Ivan the Terrible, Part I

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rzfwfdq6cxlcnlfxttzs9w9dmr2#438 – Ivan the Terrible, Part I, (Иван Грозный), 1944, Sergei Eisenstein
ru

Sergei Eisenstein’s final film, this is the first part of a three-part biopic of Czar Ivan Grozny, which was never completed due again to producer dissatisfaction with Eisenstein’s attempts to use forbidden experimental filming techniques and excessive cost overruns. The second part was completed but not released for a decade after Eisenstein’s death and a change of heart in the USSR government toward his work; the third part was only in its earliest stage of filming when shooting was stopped altogether. In this first part, set during the early part of his reign, Ivan faces betrayal from the aristocracy and even his closest friends as he seeks to unite the Russian people.

#545: Solaris

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pjarqzkcxdmnki75m2fhxexvr6m#545 – Solaris, (Солярис), 1972, Andrei Tarkovsky
ru

A psychologist is sent to a space station orbiting a planet called Solaris to investigate the death of a doctor and the mental problems of cosmonauts on the station. He soon discovers that the water on the planet is a type of brain which brings out repressed memories and obsessions.

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#717: Alexander Nevsky

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lstjystisnddwiod1l4femwj4cx#717 – Alexander Nevsky, (Александр Невский), 1938, Sergei Eisenstein
ru

When German knights invade Russia, Prince Alexander Nevsky must rally his people to resist the formidable force. After the Teutonic soldiers take over an eastern Russian city, Alexander stages his stand at Novgorod, where a major battle is fought on the ice of frozen Lake Chudskoe. While Alexander leads his outnumbered troops, two of their number, Vasili and Gavrilo, begin a contest of bravery to win the hand of a local maiden.