With wall-to-wall ethnic music and a highly-theatrical style, Parajanov’s last completed feature may be the most accessible of his most well-known folkloric works, best described as an experimental Fellini on steroids.
Told in numerous short vignettes, Parajanov’s late Georgian film retains the exotic, cultural elements that define his work, but occasionally struggles to find a balance between experimentation and storytelling.
Parajanov’s free-wheeling breakthrough film is a remarkable sensorial work that could hardly contain its dizzying energy—a showcase of a filmmaker at the height of his artistic expression.
As fascinating as it is arcane, this visually and aurally arresting work from Armenia defeats categorization, but is indescribably hypnotic.
Dovzhenko’s representative if propagandistic work of the Soviet silent era is visually poetic even if in retrospect its pro-Stalinist call for collectivism remains controversial.
An unusual and at times powerful Soviet WWII movie about a male sergeant leading a group of inexperienced women soldiers into a skirmish with marauding Nazis.
Tarkovsky’s vignette-style medieval epic is possibly the greatest ideological film about a psychologically-conflicted artist trying to understand the epoch he lives in.
Tarkovsky’s purest cinematic poem pulls you into its complex if nebulous form, in a work that continues to astonish time and time again.
A poetic war film, if there ever was one, about the loss of childhood innocence shot in a dreamy style by the legendary Tarkovsky.
This bold existentialist work from Russian master Tarkovsky compels and frustrates with equal measure.
