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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 They have lived alone for years in their own private world, full of memories and daily rites. 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. Alexei is sitting on his father’s lap. 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. 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. His father was a Red Army veteran of WW2. A father (Father) and his son Aleksei share a roof-top apartment in an unidentified seaside city. Alexander Sokurov ("Russian Ark") starts his trilogy about family bonds and memory. As it were. 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. A young man (Alexander Anaishnov) has come to take care of his mother (Gudrin Geyer) who lives alone in rural Russia. Thanks for subscribing! 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. 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. Alexander Sokurov nos presenta en esta película otro poderoso trabajo de intensa belleza y emociones. 83m/C DVD . Look out for your first newsletter in your inbox soon! Aleksandr Sokurov Celebrity Profile - Check out the latest Aleksandr Sokurov photo gallery, biography, pics, pictures, interviews, news, forums and blogs at Rotten Tomatoes! 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. 1 To be sure, seldom has film been more transfigured, to the point of resembling a series of paintings. 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. 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”). 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 each face new choices, however, they are forced to realize that they may have to let go of their dependence on each other. 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. 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