The Sacrifice

The Sacrifice is a 1986 drama film written and directed by Andrei Tarkovsky. Starring Erland Josephson, the film was produced by the Swedish Film Institute. Many of the crew were alumni of Ingmar Bergman's films, including cinematographer Sven Nykvist. The Sacrifice centers on a middle-aged intellectual who attempts to bargain with God to stop an impending nuclear holocaust. The Sacrifice was Tarkovsky's third film as a Soviet expatriate, after Nostalghia and the documentary Voyage in Time and he died shortly after its completion. He was diagnosed with cancer after making the film and by 1986, was unable to attend its presentation at the Cannes Film Festival due to his illness. Like 1972's Solaris by Tarkovsky, The Sacrifice also won the Grand Prix at the Cannes Film Festival. The 1986 film The Sacrifice by Andrei Tarkovsky has received many positive reviews, including praise for its cinematography, themes and performances: Cinematography: The film features dream-like photography and evocative scenery that reflects the horror of nuclear war. Sven Nykvist, a regular collaborator of Ingmar Bergman, was the cinematographer. Themes: The film explores complex themes, including religious and mystical allegories and the human experience of longing and understanding. Performances: The Swedish cast, led by Erland Josephson and Allan Edwall, was mesmerizing. Visuals: The film is visually accomplished and poetic. Production: The film is well-crafted and stylish. Narrative: The film is formally impressive and narratively rewarding. Farewell: The film is considered a fitting farewell to Tarkovsky's career. However, some say the film's slow pace and minimalist narrative may not be suitable for everyone. Others say that the film requires patience and that the first 30 minutes may alienate some viewers.

An artistic surrealist apocalypse story based in Sweden and directed by the celebrated Russian. A strong cast (former Bergman people) who told this abstract tale about the end of the world and how this family chose to handle it or in some case to not. I struggled through it despite the beautiful filming and acting. I expect I need to have a lecture on it to fully appreciate the whole. There is a stunning scene with a house burning down, but then the ensuing push and pull with the others made it tough to want to keep watching. It was on the "Sight and Sound's 2022" list. RUS.

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.