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Category Archives: cinematic genius

Tarkovsky reshaped cinema, opening up new possibilities to the forming of time and its effects on contemporary life. He produced an enigmatic and poetic body of work that has helped revolutionize a wide range of genres, including science fiction, war stories, film essays and historical dramas. зеркало, тарковский Andrei Tarkovsky’s reminiscence of life as a child in Russia during World War II

The film features Margarita Terekhova, Ignat Daniltsev, Alla Demidova, Anatoli Solonitsyn.
Mirror is known for its non-linear structure. It unfolds as an organic flow of memories recalled by a dying poet (based on Tarkovsky’s own father Arseny, who in reality would outlive his filmmaker son by three years) of key moments in his life both with respect to his immediate family as well as that of the Russian people as a whole during the tumultuous events of the twentieth century. His visionary approach to cinematic time and space, as well as his commitment to cinema as poetry, mark his oeuvre as one of the defining moments in the development of the modern art film. Although he never tackled politics directly, the metaphysical preoccupations of films such as Andrei Rublev (1966), Mirror (1974) and Stalker (1979) provoked ongoing hostility from the Soviet authorities. Like many other artists in the Soviet Union, his career was marked by constant struggles with the authorities to realise his vision.

тарковский Сталкер Andrei Tarkovsky’s Stalker

Stalker follows the journey of a shadowy guide as he leads a writer and professor into a site known only as the “zone.” As legend has it, at the center of the “zone” is a room with the power to fulfill a person’s innermost dreams.

As the trio traverses the fantastic world of the “zone,” which seems to shift in reaction to their endeavors as if it has a mind of its own, the effects of their intentions for entering the space begin to engulf them. Loosely based on the novel Roadside Picnic by the Soviet-Russian Strugatsky Brothers, Stalker has grown to become an iconic piece of Russian film history, inspiring artists, writers and filmmakers around the globe.tark3tark2


Paolo Pasolini The Gospel According to St Mathew   was filmed mostly in the poor, desolate Italian district of Basilicata, and its capital city, Matera.His film would argue: Jesus was a radical whose teachings, if taken seriously, would contradict the values of most human societies ever since. Paolo Pasolini Salo 120 Giornate di Sodoma Paolo Pasolini Salo 120 Giornate di
Sodoma.It is based on the book The 120 Days of Sodom, by the
Marquis de Sade. The story is in four segments, inspired by
Dante’s Divine Comedy: the Anteinferno, the Circle of Manias,
the Circle of Shit and the Circle of Blood. Director John Waters
“Salo is a beautiful film…it uses obscenity in an intelligent
way…and it’s about the pornography of power.” Фильм является вольной экранизацией «120 дней Содома» Маркиза де Сада. Первая часть незавершённой «Трилогии смерти», в которую также должен был войти фильм Porno-Teo-Kolossal (не завершён). Фильм состоит из четырёх частей, основанных на Божественной комедии Данте Алигьери: Преддверие ада (итал. Antinferno), Круг маний (итал. Girone della manie), Круг дерьма (итал. Girone delle merda), Круг крови (итал. Girone del sangue). Фильм также содержит частые ссылки на произведение Фридриха Ницше Генеалогия морали (1887), стихотворение Эзры Паунда The Cantos, а также magnum opus Марселя Пруста В поисках утраченного времени. Medea (1970) by Pier Paolo Pasolini who conveys the Euripides’s Medea’s plot as true visual myth

теорема пазолини Theoreme (1968) Pasolini  intended to be theoretical in this film of  an ambivalent guest, a stranger

I racconti di Canterburyppp

Eight of Geoffrey Chaucer’s lusty tales come to life on-screen in Pier Paolo Pasolini’s gutsy and delirious The Canterbury Tales, which was shot in England and offers a remarkably earthy re-creation of the medieval era. From the story of a nobleman struck blind after marrying a much younger and promiscuous bride to a climactic trip to a hell populated by friars and demons (surely one of the most outrageously conceived and realized sequences ever committed to film), this is an endlessly imaginative work of merry blasphemy, framed by Pasolini’s portrayal of Chaucer himself. Ecce Homo & Salo & PPP murder story by Ferrara