Film Journal : Svetlana Svirko . Credits Director(s), alexander sokurov . Screenplay by, alexander sokurov , Anatoly Nikiforov . http://www.filmjournal.com/PublSystem/objects/MovieCommon/_detail.cfm/StructID/7
Extractions: Director(s) Alexander Sokurov Screenplay by Alexander Sokurov Anatoly Nikiforov Writer(s) Boris Khaimsky Svetlana Proskurina Alexander Sokurov Producer(s) Audrey Deryabin Jens Meurer Karsten Stoter Director(s) of photography Tilman Buttner Production designer(s) Yelena Zhukova Natalia Kochergina Music by Sergey Yevtushenko Costume designer(s) Lidiya Kriukova Tamara Seferyan Maria Grishanova WELLSPRING Time-travel movies are pretty commonplace today, but Russian Ark is something you've never seen: a back-to-the-future tale all shot in a single long (and very complex) camera take! Director Alexander Sokurov chose to make his picture this extraordinary way to outmaneuver producers who might otherwise recut it. more >> Critic: Eric Monder
Second Circle On VHS Alexander Sokurov Second Circle Susan Sontag calls alexander sokurov 'perhaps the most ambitiousand original serious filmmaker of his generation.' In this film, considered http://www.buyindies.com/listings/2/2/FCTS-22522.html
NGA - Film Series - Sokurov Elegies Of all Russian filmmakers past or present, alexander sokurov has achieved the distinctionof being hailed as the most unreservedly spiritual in a country where http://www.nga.gov/programs/flmsokurov.htm
Extractions: A Humble Life Of all Russian filmmakers past or present, Alexander Sokurov has achieved the distinction of being hailed as the most unreservedly spiritual in a country where spirituality in art is prized. With ten features and twenty-five experimental and nonfiction works (including the video and film elegies shown in this series) he has cultivated a unique aesthetic that delicately distorts and prolongs images, adds allusive sounds, and turns ordinary landscapes into mood poems. Individual scenes, although often imprecise, remain tranquil, meditative, and intense. Like his mentor Andrei Tarkovsky, Sokurov has never been termed an "official" Russian artist nor a dissident. He has chosen instead to develop, through an idiosyncratic range and treatment of subjects, a kind of "ethical enlightenment." back to film programs Evening Sacrifice Creating this documentary about the forced exile of his mentor Andrei Tarkovsky, Alexander Sokurov said, "It is a subjective perception of the personality of the great filmmaker in the context of history.... Our task was to create an empathetic approach to his memory... without embracing all aspects, speaking only of what he had left in his Motherland, and what was happening during those years in the West where he had to work." (1986-1988, 88 minutes)
Extractions: Features By Gabe Klinger A lexander Sokurov is in a slump. It remains to be seen whether the recent decision to bring his films to the high-profile glamour of Cannes was a mistake; Moloch (1999), his first film to surface at the festival, opened the 50 year-old Russian director for serious consideration, but the praise came from David Cronenberg's artier-than-thou jury, which commentators still consider one of the events' biggest blemishes. Sitting in between one writer from Vogue and another from Paris-Match at this year's Rotterdam Film Festival, I mentioned the day's films I had seen, and one of them happened to be Taurus (2001), Sokurov's second film to compete in Cannes. "I haven't seen it, but I can't stand his films!" exclaimed the reporter from Paris-Match. It was only at this point, late in the festival year, that I realized the mainstream press had already begun to ignore his films. At least now we have two groups, and few directors can so easily discern their viewers: those who can't even drag themselves to his films out of professional duty; and then those who keep seeing them because they truly admire what he's doing. Susan Sontag. Paul Schrader. There aren't as many fervent Sokurov supporters as there are for Hou Hsiao-hsien and Abbas Kiarostami, arguably the two other greatest discoveries of the last two decades. Critics as well as audiences have responded wearily to his work. When
Sokurov2 We could call it the curse of film, the nonartistic component. Paintingis therapy, film is still a kind of surgery. . - alexander sokurov. http://www.24fpsmagazine.com/Features/Sokurov2.html
Extractions: Features By Jaime N. Christley PART ONE "A director is like a cook in a restaurant who doesn't know the stomachs of his guests: what he makes is sort of an ideal recipe. The viewer comes into the theater and begins to eat time. Some of it he digests, some of it he does not digest. That can make him sick or irritated. Painting knows no such phenomenon, nor does literature. We could call it the curse of film, the non-artistic component. Painting is therapy, film is still a kind of surgery." - Alexander Sokurov I n one of those classic oversimplifications that self-taught experts like myself are trained to make, and cannot resist passing on to others, a British colleague of mine recently informed me that when Americans describe a film, they talk about the plot, what happens, the premise, and when Europeans describe a film, they talk about the look . Whether or not this is predominantly true isn't keeping me up at night, but since much of what we see at a film is often defined by what we want to see, I think it's crucial to our growth as a moviegoing culture to consider what baggage (preconceptions, requirements, rules, theories) we take with us when we see films in theatrical venues or on home video, especially those films that directly address and often fly in the face of all the bits of baggage we've been accumulating over a lifetime, and, especially, the ones of which we are most sure. The use of prejudgment is expected of anyone who breathes oxygen, of course, but as the spectrum of expressing ideas through the cinema is too broad and complex for anyone to digest completely, it seems only fair to the artists working within the medium to resist the temptation to apply the same restrictive set of standards to
Directory :: Look.com Antivirus WebtoolsWeb Tools. sokurov, alexander (1) See Also. Arts/Movies/Titles/M/Motherand Son - 1997. Sites. The Island of sokurov http://www.look.com/searchroute/directorysearch.asp?p=169465
Classic Video Club: Video Search Found 1 film with Director containing alexander sokurov Mother and Son/Maty Sin Directed by alexander sokurov, /Russia, 1997. 1 hr 13 min. Drama. http://www.classicvideo.ch/Films.cfm?Arg=Director&TRM=Alexander Sokurov
Extractions: M oloch é o nome dado a uma divindade malévola adorada por diversas culturas antigas - gregos, cartagineses e judeus idólatras. Este ídolo pagão, no entanto, sempre foi associado a sacrifícios humanos, sendo conhecido também como "Príncipe do Vale das Lágrimas" e "Semeador de Pragas". Moloch foi o título escolhido pelo diretor Alexander Sokurov para fazer um estudo da vida cotidiana de Adolph Hitler e sua amante Eva Braun. O polêmico filme venceu o Prêmio de Melhor Roteiro no Festival de Cannes/99. Nos Alpes da Bavária, a solitária Eva Braun recebe a visita do temido Führer. Ele não está sozinho: Joseph Goebbels, ministro da Propaganda, e Martin Bormann, seu principal assessor, estão com ele. A ordem é não se falar em guerra, apesar de se estar na primavera de 1942. Mas a tensão é evidenciada pela impaciência e inconformismo de Eva. Ela sabe que não pode competir com a dedicação de seu amante ao Reich e já não suporta seus discursos absurdos e sua hipocondria. Mesmo assim, somente ela é capaz de compreendê-lo e ser a única voz a ousar contradize-lo. Diretor : Alexander Sokurov Roteiro : Yuri Arabov, Marina Koreneva
CineClick : : : Primo Piano Translate this page alexander sokurov Russian Ark di alexander sokurov, coproduzione russo-tedesca,resterà nella storia del cinema come una impresa tecnica straordinaria un http://www.cineclick.it/primopiano/archiv/cannes_rassegnastampa5.asp
Extractions: Alexander Payne (un altro trentenne incoronato "genio" dal mondo di Hollywood e dintorni al secondo lavoro. Per produrre il suo film hanno fatto a botte Universal e Fox) che si domanda, rispondendo a un giornalista, cosa ci sia di crudele nel suo " About Schmidt ", passato ieri in concorso a Cannes. E pensare che l'unica cosa decente di questo film osannato dagli americani presenti alla Croisette (è decisamente la loro Palma) è la denuncia spietata della società americana dall'interno che ci offre. A questo punto, supponiamo in modo inconsapevole. Alexander Sokurov Russian Ark » presentato come terzo film in concorso, sorprende per i nuovi caratteri della ribadita audacia. Sorta di scommessa tecnico-poetica, interamente girata in un elettronica e in un unico (vero?) piano sequenza, questa ultima opera colpisce per saper combinare in "tableaux vivants", sulla falsariga di celebri quadri conservati al museo dell'Ermitage, fascino visivo, ricostruzione storica, sfrenata virtuosità tecnica.
Extractions: Russia's foremost contemporary director on the web Researchers who know Russian will soon find that there are vast amounts of material on Sokurov both on and off the web. The situation in English, however, is rather different. Here is the best of what is on offer, including articles, resources and where to buy Sokurov videos. Contents Just click on the heading or scroll down to browse. Articles in CER The Elusive Hitler : Sokurov's Moloch
Extractions: Photo courtesy of Wellspring Russian Ark ," the new masterpiece by Russian director Alexander Sokurov , is an ode to the sumptuous salons and glittering galleries of the most fabled building of the Hermitage in St. Petersburg: the Winter Palace built for the czars in the middle of the 18th century. It's also an ode to digital and the Steadicam, since the movie unfolds in one uninterrupted shot that's more than 90 minutes long. The spectacle begins when a somewhat bewildered time traveler we never see him, but Sokurov speaks his words finds himself wandering through the Winter Palace's opulent rooms and corridors. Unsure of how he arrived (he mentions some vague, perhaps apocalyptic accident) or what he's doing here, he somehow hooks up with a cynical French aristocrat from the 1800s, and the two men embark on a meandering journey through the vicissitudes of Russia's turbulent past. As each episode unfolds in a panorama of luxurious decadence, the invisible protagonist and his companion debate a wide range of social, political, and aesthetic issues. The bemused Frenchman displays a typical western ambivalence to Russian history, while the 21st century filmmaker alternately defends and questions the depth of Russia's connection to its troubled and confusing past, and to the equally complex European past that has transpired alongside it in an intricate dance of mutual influence.