alexander sokurov mother and son

The answer to both questions must have to do in equal parts with the end of communism and the near total collapse of the Russian economy as with its rebirth under Vladimir Putin. In Mother and Son, death is thematised through the mother’s fate, but also through the network of allusions of the romantic representations, and the proximate nature of anamorphosis and the Vanitas as a genre (think of the anamorphic skull in Holbein’s amply commented The Ambassadors). Many have pointed out to the a-chronological and “fairy tale” nature of the film. Murmurs from a Shadowless Land: Fragmentary Reflections on the Cinema of Werner Herzog, Criminals Against Decoration: Modernism as a Heist, Claustrophobia and Intimacy in Alex Ross Perry’s, Thresholds of Work and Non-Work in Tulapop Saenjaroen’s, “Rouch Isn’t Here, He Has Left”: A Report on Building Bridges: The Cinema of Jean Rouch, The 34th Cinema Ritrovato Has Full Resuscitation under COVID, Women at the 2020 Toronto International Film Festival, A Vitalising Cinema in an Agitated Age: The 58th New York Film Festival, Your Daughters Come Back to You: The 28th Pan African Film and Arts Festival. Avoiding the kitsch such reproductions may have yielded, director Aleksandr Sokurov resorted to a variety of practical tricks: in some shots he used anamorphic, distorting lenses applied directly onto the camera; in other instances, the image was actually shot in the mirror reflection of miniature landscapes and ruins – accounting for the many fixed, static compositions in the film. A lexander Sokurov’s Father and Son, about the relationship between a young father (Andrey Shchetinin) and his grown-up son, Alexei (Aleksey Neymyshev) is disturbing in many ways.The first sequence shows close-ups of athletic bodies firmly intertwined. Mother and Son 3 out of 5 stars. Sokurov was born in Podorvikha, Irkutsk Oblast, in Siberia, into a military officer's family. Aleksandr Sokurov’s Mother and Son (1997) contains examples of what I am calling the transcendental time-image. Try another? The question “what could have motivated Sokurov, the mournful, but vibrant filmmaker of films such as Days of the Eclipse, to retreat into a cinema increasingly preoccupied with death and contemplation, through the 1990s?” is thus correlated to the equally problematic “how is a superb chamber artist like Sokurov […] moved […] to reflect on the lives of ‘great men’ like Lenin, Hitler and Hirohito?”5. Look out for your first newsletter in your inbox soon! Following in his father's path, Aleksei attends military school. Declaring the ‘End’, Signaling a Renewal: Stairways to Paradise: Youssef Chahine and, Waiting for Rain: Oppression and Resistance in Youssef Chahine’s, An art historian would easily find a wealth of references in. Mother and Son The ultimate heartrending elegy by ALEXANDER SOKUROV for the deepest human relationship (nostalgia, loss, solitude) Universal Award Berlin Film Festival. Aleksandr Sokurov, Director: Russkiy kovcheg. Mother and Son (1997, Russia/Germany, Alexander Sokurov) Given that Sokurov's 'Alexandra' has finally received a UK release, a full year after I saw it at the London Film Festival, it's perhaps useful to look at one of Sokurov's previous films about family bonds. As Jacques Rancière has pointed out, there exists, in the films of Sokurov, a fundamental contradiction: between the undeniable technological and artistic experimentation in the director’s works, and the often reactionary, conservative views he holds in interviews.2 One could also point out to the discrepancy between Sokurov the aesthete and Sokurov the pragmatic actor of the cultural sphere, often obliquely paying lip service to an unlikely master while posing as a detached, a-political artist. Directed by Aleksandr Sokurov. Sokurov’s film shows us what happens not when the story is over, but before it has started, in which humans who had the misfortune of living in the “wrong time” (or their descendants), can see, at least, the dignity in their death, until (or rather, and again, before) Empire Come. A young man (Alexander Anaishnov) has come to take care of his mother (Gudrin Geyer) who lives alone in rural Russia. But the “antidote” was also aimed at something else: Sokurov regarded post-Soviet Russia as a depressing socioeconomic and political environment wherein many suffered (following a regime wherein even more suffered and died). Alexander Sokurov’s Mother and Son is a son’s farewell to his dying mother. His films, in a most transparent way, marked a departure, a retreat from the social sphere in these years of failed and aborted reforms and socio-economic turmoil, their hazy, ghostly aesthetics and the characters that float through rather than inhabit them being a direct reflection of the despondence and powerlessness felt by the director. As I noted elsewhere, Mother and Son proposes a new phenomenology of time, the feeling of which it nearly abolishes to remarkable effect. One of most important contemporary filmmakers, Sokurov worked extensively in television and later graduated from the prestigious film school, VGIK, in 1979. The characters speak to one another from an unlikely beyond. This belief ties in with the Russian man’s equally strong belief that the redemption of the West, now in decline, would come from Russia, harboring and protecting the great ghost, the great spirit of the West, now imperiled. Founded in 1999, Senses of Cinema is one of the first online film journals of its kind and has set the standard for professional, high quality film-related content on the Internet. The case is no different with Sokurov's latest film, Mother and Son , which depicts the final day of an old woman's life as she is being cared for by her son. by David Neo Volume 5, Issue 6 / November 2001 9 minutes (2243 words) Sokurov creates some stunningly beautiful archetypal images in Mother and Son. In his Cahiers article “Le cinéma comme la peinture?”, Rancière challenged the lofty spiritual aspirations of Sokurov by dismantling the very notion of bi-dimensionality and “pictoriality” in his films – and the rejection of the 20th century contained therein. He watches her sleep, takes her for a walk (or rather carries her), reads to her, gives her medicine, and, when she falls asleep, goes for a walk alone. In this, and despite all its Germanic and Western influence, the film and its maker could not be more Russian. Conversely, there was undeniably a vibrant, ebullient (juvenile, almost) quality to Sokurov’s Perestroika films (Skorbnoe beschustviye [Mournful Insensitivity, 1982, released 1986], Dni zatmeniya [Days of the Eclipse, 1986, released 1987], and Spasi i sokhrani [Save and Protect, 1989]). A father (Father) and his son Aleksei share a roof-top apartment in an unidentified seaside city. Following the death of his wife, a handsome father (Andrej Shetinin) shares an apartment with his son (Alexei Neimyshev). He is the author of The Cinema of Alexander Sokurov: Figures of Paradox (Wallflower, 2014) and the coeditor of Directory of World Cinema: Belgium, with Marcelline Block (Intellect, 2014), The Global Auteur: The Politics of Authorship in 21st Century Cinema, with Seung-hoon Jeong (Bloomsbury, 2016), and On Women’s Films Across Worlds and Generations, with Ivone Margulies (Bloomsbury, 2019). Fractal Images of Memory in Mother and Son, Part 2 Alexander Sokurov. He imputed this injustice to the cultural and spiritual vacuum of the day, proposing a film that would do away with the 20th century, and inviting its viewer to another approach of cinema, of time, and existence. © 2021 Time Out England Limited and affiliated companies owned by Time Out Group Plc. 83m/C DVD . 1 One that nests itself in the crack following the apocalypse (the deluge, the fire, as in his friend Andrey Tarkvosky’s films to whom his own are so often inaccurately compared) and preceding rebirth. The film begins before the first scene and ends after the last, with the sound of wind in the trees and the songs of birds. Dreamy and eminently contemplative, with its near absence of plot, the film thus also boasted a subtle reflexive quality, which was lost on many critics, who opted to marvel at the painterly (and escapist) quality of it all. Aleksandr Sokurov’s films include Russian Ark, A Russian Youth, Mother and Son, Faust… As each face new choices, however, they are forced to realize that they may have to let go of their dependence on each other. In Father and Son, Alexander Sokurov unabashedly tiptoes over the thin line between an ethereal connection and incestuous love, and bestows onto the world cinema probably one of the most brilliantly homoerotic controversies of all time. If you are an Australian resident, any donations over $2 are tax deductible. Elena Gracheva, “Kolybelnaya” in Arkus Lyubov (ed.). While the first contradiction could not be more salient in Mother and Son, the latter cognitive dissonance is also exemplified in the film – and is more apparent today than it was twenty years ago. His father was a Red Army veteran of WW2. Which leads us back to Mother and Son’s treatment of time – and its meaning – proper. Mother And Son [1997] [DVD] Alexei Ananishnov (Actor), Gudrun Geyer (Actor), Aleksandr Sokurov (Director), Alexander Sokurov (Director) & 1 more Rated: Universal, suitable for all Format: DVD 4.1 out of 5 stars 21 ratings All rights reserved. Aleksandr Sokurov - Mat i syn AKA Mother and Son(1997) Quote: In festival circles, Russian director Alexander Sokurov has long been dubbed the next Andrei Tarkovsky (Solaris, Andrei Rublev), but Mother And Son, his 14th feature, is his first to attract much attention in the U.S. Much as the ghost of Stalin was never entirely gone from Russia (through the 1990s and early 2000s it was stupefying to see the number of cab drivers in St. Petersburg or Moscow who adorned their cars with an effigy of the Batyushka – as many as those who would boast an Orthodox icon, making the two essentially indistinguishable in their function), so was Sokurov’s “retreat” into contemplative and slow cinema never entirely bereft of ideological agenda and implications. Jacques Rancière, “Le cinéma comme la peinture?”. Mother and Son, with its score of references to the tradition of Western art, already articulated the idea of humans being integrated in a block of time and space that constitutes, as it were, an imaginary museum of variable and endless possibilities. Déjà vu! I truly hope so. Alexei is sitting on his father’s lap. Aleksandr Sokurov talks to Steve Rose about Soviet spies, fallen dictators – and … A time of waiting, possibly outside of time. The mother is old and sick, and they spend the rest of her life in what looks like the ruin of a nineteenth century country house. She is dying. Sokurov’s time in Mother and Son is not “after”, but rather “in between” – a time of the interstice. Mother tells the story of a dying mother and her absolutely devoted son. This is not an entombment, then, but rather an en-womb-ment; no funeral veil so much as a placenta-like wrapping – with the quasi-uterine and aquatic, filtered sound design and promise of rebirth contained therein. This is not a post-narrative time as Rancière reads it in Tarr, even as both filmmakers show an equal interest, in this antechamber of sorts, for the fabric of the sensitive (“l’étoffe sensible”). Fredric Jameson, “History and Elegy in Sokurov”. He did so by demonstrating the greater proximity of Sokurov’s Tikhiye stranitsy (Whispering Pages, 1994) with the tradition in turn-of-the-century photographs for a flattening of space in order to move away from representational realism, rather than with the painterly tradition per se. And not in money. The film was entered into feature film competition at the 2003 Cannes Film Festival. Award-winning Russian filmmaker Alexander Sokurov (Russian Ark) directs the intimate drama Father and Son (Otets I Syn), a companion piece to his 1996 film Mother and Son. To be sure, seldom has film been more transfigured, to the point of resembling a series of paintings. The slow, morbid quality of Sokurov’s films, and particularly in his films of the 1990s (the post-Soviet and pre-Putin period) is inescapable. This accounted for the sublime (if sedate) nature that I have identified in the film. Otets i syn) is a 2003 Russian drama film directed by Alexander Sokurov. Tribute devoted to Alexander Sokurov From Wednesday 4/1/2012 to Wednesday 25/1/2012, at 21:30. In this film, the feeling of oppression is everywhere: not only in the faces of the main characters, not only in the claustrophobic, dimly-lit … Read movie and film review for Mother and Son (1997) - Aleksandr Sokurov, Aleksandr Sokurov, Alexander Sokurov on AllMovie - Mat i Syn is quite literally a film unlike any… But was it only in order to come closer to the contemplative, absorbing regime of the religious icon as mediated here through the secular mystery of the romantic sublime that Sokurov had decided to remove, inasmuch as is possible, the feeling of passing of time from his film? They have lived alone for years in their own private world, full of memories and daily rites. ‘Father and Son’ forms the second part of an intended trilogy by Sokurov, best known for last year’s ‘Russian Ark’. In other words, Rancière debunked the proverbial “anxiety of influence” in Sokurov, or his Oedipal rejection of the Soviet and/or modernist father, and the reactionary stance lurking behind Sokurov’s death-ridden characterisations and overly aestheticised and de-populated realms. The viewer pays a high price for a film. Even the film’s carefully produced sound design, itself replicating the sensation of a cotton-like coating, enshrouded the whole (including the viewer) like a funeral veil. It is however the film’s treatment of time, rather than its fabled visuals, which calls today for further inquiry. Sometimes they seem like brothers. Mother and Son is a story of deep and tender affection between a mother and her son. We already have this email. He too is absent when his mother dies (in The Second Circle, the son arrives too late). With Mother and Son, Sokurov posited himself as a “therapist of souls” for some, while reminding others of a forgotten function of art. At the time of the film’s release, Sokurov exalted the bi-dimensionality and flatness of the cinematic image, relating it to the painterly tradition – specifically to that of the religious icon – elevating cinema as art. Mother and Son (Alexander Sokurov, 1997) Gary Morris; December 1, 1998 Even the cinematic frame isn’t safe from Sokurov’s grim sleight-of-hand. This allowed Sokurov to layer and give additional depth to his mise en scène: the director would paint onto the surface of the mirror, adding surprising and unique effects to his already unusual, soft and gauzy representations. Aleksandr Sokurov's previous films have borne such titles as The Lonely Voice of Man, The Degraded and Sad Insensitivity, accompanied by documentary 'elegies' - In so doing, he purported not only to elevate cinema to the rank of high art, but also to re-inscribe a wayward medium into the great tradition, concocting a more potent remedy for the viewer than any comfort the son might have given his ailing mother: a glimpse into life everlasting. Click here to make a donation. Sometimes even like lovers. So that the whole, be it in the wanderings in nature or even the conversations between the son and the dying mother, seems to take place in a perpetual present, an eternal spring time that is also an endless fall, an ever repeated routine, the universal cyclical repetition of life and death. It is thus unsurprising that he reached for Friedrich’s sublime landscapes for inspiration, the project of romantic art being (as identified by Hölderlin) to exacerbate the real in order to show what is hidden beyond: in this case, God. But Alexander Sokurov's Russian Ark has every right to the claim. Source for information on Father and Son: VideoHound's Golden Movie Retriever dictionary. Sokurov clearly stated – most recently in his Francofonia (2015) – that the redemption of humanity (and the latter’s highest and noblest mission) was to rescue and uphold this tradition. Alexander Sokurov ("Russian Ark") starts his trilogy about family bonds and memory. Alexander Sokurov nos presenta en esta película otro poderoso trabajo de intensa belleza y emociones. Second chapter of Alexander Sokurov's trilogy on family relationships, the first being “Mother and Son”. Alexander Sokurov's Russian Ark was a great success worldwide last year: even in America, the bravura piece in one shot attracted thousands of viewers. It is an important piece in Sokurov´s art creation as it was his first internationally acclaimed feature film. Aleksandr Sokurov's previous films have borne such titles as. With a visually stunning, quiet intensity, director Alexander Sokurov awakens the senses to the world of nature, human relationships, and death in this film about the poignant last hours of a dying mother and the son who cares for her. The Spiritual Worlds of Alexander Sokurov PART TWO: Sokurov's Search for Spiritual Identity in "Father and Son" & Other Films "We shouldn’t be afraid of difficult films, we shouldn’t be afraid not to be entertained. A promise is hinted at – and articulated later in the more triumphant if equally melancholy Russkiy kovcheg (Russian Ark, 2002) – of a renewed faith, and the possibility for these “eternal souls” to sail forever. As is well known, Russian Ark was shot entirely in the Hermitage, one of the world’s greatest art collections. In this paper, I will be relating the time-images found in Mother and Son to the notion of fractals. Time Out is a registered trademark of Time Out Digital Limited. I’m not sure whether the trilogy will ever be completed. By entering your email address you agree to our Terms of Use and Privacy Policy and consent to receive emails from Time Out about news, events, offers and partner promotions. He is the great Russian director who once shot a whole film in a single take. More importantly, Rancière showed the contradictions of the professed bi-dimensionality in Sokurov’s corpus, by highlighting elements of depth and time in his films. Painterliness in cinema has its pitfalls. Father and Son (Russian: Отец и сын, translit. Since Sokurov envisages the twentieth century as having lost this transcendental ability, we can interpret his aesthetic project in Mother and Son as the antidote to contemporary art: a blending of religious traditions with “natural religion” – as expressed in the painterly sublime. Nonetheless, this despondence and sorrow fuelled the artist’s Muse – The Second Circle and Mother and Son being perhaps his two greatest films. Alexander Sokurov: Mother and Son “Mother and Son“ is a Russian film directed by A. Sokurov in 1997. With a visually stunning, quiet intensity, director Alexander Sokurov awakens the senses to the world of nature, human relationships, and death in this film about the poignant last hours of a dying mother and the son who cares for her. Thanks for subscribing! Though this sublime morphed into a different form of affect, reaching its more appeased, spiritualist form, in Mother and Son, the helplessness and pain of the son remain nonetheless. He graduated from the History Department of the Nizhny Novgorod University in 1974 and entered one of the VGIK studios the following year. Most of Sokurov's early features were banned by Soviet authorities. Even the soundtrack does not quite contradict this temporal indeterminacy, signifying little in terms of narrative progression. However, there is another form of time-image other than the crystal-image, the transcendental time-image. During his early period, he produced numerous documentaries, including The Dialogues with Solzhenitsyn and a reportage about Gri… He also posited the use of sound in Sokurov as a third dimension, complementing and complicating the allegedly flat images and frequent absence of reaction shots in his films. As Elena Gracheva notes, in Sokurov, art is what renders the invisible visible, but without stirring or breaking down the flatness of the cover that warrants the mystery’s integrity – thereby underlining the importance of bi-dimensionality in painting and cinema.3 Sokurov also made disparaging comments about modernism and twentieth century art at large, lamenting its loss of tradition. But in the 1997 opus – much like its warmer, sepia and gold hues are in contrast with the wintry, muted chromatic palette of The Second Circle – the promise of a reunion in the afterlife is asserted. Jeremi Szaniawski is Assistant Professor in Comparative Literature and Film Studies at the University of Massachusetts, Amherst. His next, Father and Son, is a classic Sokurov, a mythical, lyrical film that should be seen as the second part of the family trilogy that started with Mother and Son … Plot. Let’s come to Mother and Son (1997). With Andrei Shchetinin, Aleksei Neymyshev, Aleksandr Razbash, Fyodor Lavrov. If the lives of many (and nowhere more so than in Russia, as it were) had gone to waste, at least, the director thought, they could find some solace in the acceptance of death. Michelle Carey • Daniel Fairfax • Fiona Villella • César Albarrán-Torres. This is what Fredric Jameson has identified in other Sokurov films as “l’emploi du temps”,6 a time of routine and contemplation, perambulatory or fixed, which never seems to end – nor ever to start, for that matter. As it were. Of the former (the story of a hapless son incapable of tending to his dead father’s funeral arrangements), John Mackay aptly pointed out to the feeling of “surplus” of death.4 The film thus spoke to the very belated coming to terms, in Russia, with the horrors of Stalinism, kept under a lid until the collapse of the USSR. There is little question that, after the funeral of Krug vtoroy (The Second Circle, 1990) and the ghost of Chekhov in Kamen (The Stone, 1992), through his use of distorting lenses and mirrors in Mother and Son, Sokurov had accomplished yet another memento mori. Subscribe to Senses of Cinema to receive news of our latest cinema journal.Enter your email address below: The story of a mother slowly dying while in the care of her son, Mat i syn (Mother and Son, 1997) was lauded worldwide at the time of its release – first and foremost for its stunning visuals of idyllic countryside and misty forests, deeply informed, as most critics noted, by the paintings of Caspar David Friedrich.1. In his documentary (think only of Sovietskaya Elegiya [Soviet Elegy, 1989]) Sokurov laid the Soviet heritage to rest in a famous series of tableaus of its leaders cross-dissolving on top of one another, leaving a hapless, blob-like Boris Yeltsin (whom Sokurov knew well and even momentarily attempted to “enlight”, as he recounts in his collection of essays V tsentre okeana [St. Petersburg: Amfora, 2012]) to face the task of running a crumbling empire. A father and his son live together in a roof-top apartment. "Mother and Son" by director Aleksandr Sokurov is a visual masterpiece of cinematography reminiscent of Impressionistic paintings by Monet, Renoir, and Cezanne. Aleksandr Sokurov Celebrity Profile - Check out the latest Aleksandr Sokurov photo gallery, biography, pics, pictures, interviews, news, forums and blogs at Rotten Tomatoes! Yet the mother dies in the end, and so this is not what Rancière (in reference to Bela Tarr’s films) has identified as the “time after”7. There he became friends with Tarkovsky and was deeply influenced by his film Mirror. He was born with a disability because of an anatomic defect of his leg, in 1951 in Podorvikha village in Siberian Russia. Sokurov’s story is one of a torn connection between a father and son, a painful return and an uncertain future. Before Empire Come: Mother and Son (Aleksandr Sokurov, 1997) The story of a mother slowly dying while in the care of her son, Mat i syn (Mother and Son, 1997) was lauded worldwide at the time of its release – first and foremost for its stunning visuals of idyllic countryside and misty forests, deeply informed, as most critics noted, by the paintings of Caspar David Friedrich. Apparently, it was supposed to be the first part of a trilogy, which was complemented with Sokurov’s later work Father and Son (2003). Trilogy on family relationships, the first being “ Mother and Son, Part 2 Alexander Sokurov: and! Tarkovsky and was deeply influenced by his film Mirror from an unlikely beyond is important. One another from an unlikely beyond possibly outside of time Out Digital.... With his Son live together in a roof-top apartment in an unidentified seaside city, one of the VGIK the. Tax deductible Hermitage, one of a torn connection between a father ( father and! University in 1974 and entered one of a torn connection between a and. 25/1/2012, at 21:30 film Mirror registered trademark of time – and … Mother and Son ’ s farewell his! Veteran of WW2 right to the claim competition at the University of Massachusetts, Amherst another form time-image! ) and his Son live together in a roof-top apartment in an seaside! In Arkus Lyubov ( ed. ) well known, Russian Ark '' ) starts trilogy! I have identified in the second Circle, the first being “ Mother and Son “ is a Son s. Of a torn connection between a Mother and Son ( Russian: Отец и сын, translit pays a price. 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