The Sacrifice

Shot by cinematographer Sven Nykvist, an Ingmar Bergman mainstay, starring Erland Josephson, another Bergman regular, and shot in a remote area of Sweden, it's no wonder Andrei Tarkovsky's The Sacrifice looks and feels like a Bergman film. Despite being one of Tarkovsky's lesser-known films, it is filled with complex themes and stark images, including the haunting climax, reminiscent of the burning house scene from Tarkovsky's earlier film, The Mirror. The plot? A small group of friends and family gather for a birthday celebration, only to discover via a radio announcement that WW3 has commenced and nuclear annihilation is imminent, forcing them to come to terms with their own mortality. For those not familiar with Tarkovsky's work, be prepared for some lengthy but wildly effective shots, meticulous composition and plenty of philosophical musings. Like all of Tarkovsky's work, it is brilliant throughout.

Two outs, bottom of the ninth, and The Sacrifice scores: this was the last Tarkovsky feature film I had not seen, but it was the first to put me to sleep. I was worried it would never happen. I had to do a double-take initially because about half an hour in, The Sacrifice looked superficially like an Ingmar Bergman film, with a mildly dysfunctional family of bourgeoisie falling apart due to deep emotional problems, but a deeper look reveals classic Tarkovsky material - concerns with a world out of balance, the inherent weakness of human nature, and surreal imagery that calls to mind deeper questions about philosophy and the human psyche. With characters forced to reflect on their existences now that they are all in mortal danger from a threat that they cannot stop, Tarkovsky examines personal ambition and purpose set against the framework of a larger world that threatens to leave any one member behind (themes that may very well have been on the director's mind with his untimely cancer diagnosis); exasperated, regretful, and filled with new and strange purpose, our protagonists begin exhibiting unusual behavior in an attempt to refocus their perspectives that have quickly become painfully outdated. There are musings on Christianity (or more likely, any deity of choice), as one of perhaps many potentially valid spiritual constants that may each be true; the unknowability of it is key and terrifying. One of the less immediately idiosyncratic films from the director from a thematic perspective, but visually much of Tarkovsky's talent remains on display, even without the need for a diverse range of distinctive setpieces. (4/5)

Its slow and grueling pace, ominous and surreal atmosphere, and an ambiguous and minimalist narrative will not be suitable for some. However, its excellent performances, stunning cinematography, well-crafted production, religious and mystical allegories, stylish filmmaking, impressive visuals and complex themes make it a powerful and rewarding watch, and a fitting farewell for the legendary Andrei Tarkovsky.

A beautiful film. Visually poetic.

Beautiful, although long and slow.

The cinematography of the film is sublime, as is usual with Tarkovsky. The film's message was hot garbage though. The film entirely enraptured my attention; I even enjoyed the philosophic banter. That is, until the scene where Alexander's friend Otto, comes up with a plan to avert the consequences of WWIII and save the entire world. Simply, he must fuck his witchy servant girl named Maria (the virgin Mary lol). Apparently, the way to escape death, for old men, is to get their dick wet in much younger women and also destroy their connection to their family in the process. I'm sure it was a huge sacrifice for the protagonist to sneak out and fuck his servant; way to take one for the team. I do find it amusing that they had to shoot that burning house scene twice, rebuilding the entire thing, because Tarkovsky wouldn't listen to his cinematographer about having two cameras working at once.

On Of The Great Film In The World

Un ladrillo Tecnico de arte,Teatro,religion y existencialismo , invaden el ultimo film del ruso Tarakovsky,dando por mucho una catedra de Belleza audiovisual extensa y contemplativa, Este Metraje iconico de culto logra mostrar la belleza del cine a su mayor expresion.

Not as good as Tarkovsky's Soviet films, but a must see nevertheless.

Admittedly, I have a limited experience with Andrei Tarkovsky, but both of his films that I’ve seen have been frustrating to watch. I had some hope for The Sacrifice because I was told it actually has a plot with some progression. Yet it takes forever to get that plot in motion, and once you’re there it moves at a snail’s pace. Tarkovsky relishes slow-moving shots, tons of philosophical speeches, and setting the camera approximately 3 miles away from the characters so we can just sit and stare at a lot of dead space while the actors roam through it. The tedium of watching a film that is captured in this way is hard to describe. Even when there is a semblance of plot it doesn’t make any sense. I don’t understand the actions of the characters, and I couldn’t care less about what happens to them because no one has a personality. Perhaps that is the biggest failing for me in The Sacrifice, that we are kept at such a distance from the characters (literally and figuratively) that their story becomes boring by default. I can deal with some slower paced movies because I’m invested in strong characters, and enjoying good performances, but Tarkovsky denies me those things and forces me to just sit and wait for something to happen despite the fact that he hasn’t made me care about who is affected by what happens. There were moments where The Sacrifice almost broke through and got me interested, but then it would make the oddest choices and I’d find myself annoyed again. I think I’ll do my best to avoid all other Tarkovsky films, and I’d probably suggest most other people do likewise.