Theodoros Angelopoulos – O thiasos aka The Traveling Players (1975)

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Here is an excellent overview of the film that provides a ton of background information that greatly helps in understanding this outstanding film.

from Jump Cut, no. 10-11, 1976, pp. 5-6
copyright Jump Cut: A Review of Contemporary Media, 1976, 2004

“In THIASSOS even though we refer to the past, we are talking about the present. The approach is not mythical but dialectical. This comes through in the structure of the film where often two historical times are dialectically juxtaposed in the same shot creating associations leading directly to historical conclusions… Those links do not level the events but bypass the notions of past/present and instead provide a linear developmental interpretation which exists only in the present.”
— Theodoros Angelopoulos Continue reading

Andrei Tarkovsky – Andrey Rublyov AKA Andrei Rublev (1969) DVD

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Presented as a tableaux of seven sections in black and white, with a final montage of Rublev’s painted icons in color, the film takes an unflinching gaze at medieval Russia during the first quarter of the 15th century, a period of Mongol-Tartar invasion and growing Christian influence.

Commissioned to paint the interior of the Vladimir cathedral, Andrei Rublev (Anatoli Solonitsyn) leaves the Andronnikov monastery with an entourage of monks and assistants, witnessing in his travels the degradations befalling his fellow Russians, including pillage, oppression from tyrants and Mongols, torture, rape, and plague. Faced with the brutalities of the world outside the religious enclave, Rublev’s faith is shaken, prompting him to question the uses or even possibility of art in a degraded world. After Mongols sack the city of Vladimir, burning the very cathedral that he has been commissioned to paint, Rublev takes a vow of silence and withdraws completely, removing himself to the hermetic confines of the monastery. Continue reading

Edgar Reitz – Die andere Heimat – Chronik einer Sehnsucht AKA Home from Home: Chronicle of a Vision (2013)

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When Edgar Reitz made the Heimat film series in 1984 he created an incredible chronicle of German rural life in the 20th century. He went on to release another couple of mini-series, bringing events up to the modern era. At over 53 hours they were beautifully made and together are an epic saga of the Simon family and the village of Schabbach. He returns to familiar ground for this prequel, charting the fortunes of the same clan between 1840-1844, in Home From Home: Chronicle of a Vision.

Jacob (Jan Dieter Schneider) dreams of escaping the hard, oppressive and poor life in Schabbach by emigrating to the tropics. His father (Rüdiger Kriese), the local blacksmith, despairs that his son is stuck with his nose in a book whilst there so much work to do. His mother (Marita Breuer) on the other hand, is happy to indulge his daydreaming. He falls for Jettchen (Antonia Bill), the daughter of a mill owner, but they are fated not to be together. When his brother Gustav (Maximilian Scheidt) returns from war, a drunken night with Jettchen leads to her getting pregnant, whilst Jacob is arrested after his first brush with rebellion. Continue reading

Aleksandr Dovzhenko – Zemlya AKA Earth (1930)

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Dovzhenko was commissioned to make what was intended to be a minor propaganda film to encourage the establishment of farming collectives. Under Dovzhenko’s lyrical montage and photography what emerged far exceeded propaganda; Earth has repeatedly made every international top ten film list. Continue reading

Pier Paolo Pasolini – Il Vangelo secondo Matteo AKA The Gospel According to Matthew [+Extras] (1964)

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from imdb:
Along a rocky, barren coastline, Jesus begins teaching, primarily using parables. He attracts disciples; he’s stern, brusque, and demanding. He comes to bring a sword, not peace, he says. He’s in a hurry, moving from place to place near the Sea of Galilee, sometimes attracting a multitude, sometimes being driven away. His parables often take on the powers that be, so he and his teachings come to the attention of the Pharisees, the chief priests, and elders. They conspire to have him arrested, beaten, tried, and crucified, just as he prophesied to his followers. After he dies, he appears to his disciples and gives them final instructions. Continue reading

Sergei Bondarchuk – Voyna i mir AKA War and Peace [Part 1-4 With Extras] (1968)

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Like Tolstoy’s novel, this epic-length War and Peace is rough going, but worth the effort. Winner of the 1969 Academy Award for Best Foreign Language Film and widely considered the most faithful adaptation of Tolstoy’s classic, Sergei Bondarchuk’s massive Soviet-Italian coproduction was seven years in the making, at a record-setting cost of $100 million.

Bondarchuk himself plays the central role of Pierre Bezukhov, buffeted by fate during Russia’s tumultuous Napoleonic Wars, serving as pawn and philosopher through some of the most astonishing set pieces ever filmed.

Bondarchuk is a problematic director: interior monologues provide awkward counterpoint to intimate dramas, weaving together the many classes and characters whose lives are permanently affected by war.

Infusions of ’60s-styled imagery clash with the film’s period detail; it’s an anomalous experiment that doesn’t really work. Undeniably, however, the epic battle scenes remain breathtakingly unique; to experience the sheer scale of this film is to realize that such cinematic extravagance will never be seen again. Continue reading

Andrei Tarkovsky – Andrey Rublyov (1966)

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Widely recognized as a masterpiece, Andrei Tarkovsky’s 205-minute medieval epic, based on the life of the Russian monk and icon painter, was not seen as the director intended it until its re-release over twenty years after its completion. The film was not screened publicly in its own country (and then only in an abridged form) until 1972, three years after winning the International Critics Prize at the Cannes Film Festival. Calling the film frightening, obscure, and unhistorical, Soviet authorities edited the picture on several occasions, removing as much as an entire hour from the original.

Presented as a tableaux of seven sections in black and white, with a final montage of Rublev’s painted icons in color, the film takes an unflinching gaze at medieval Russia during the first quarter of the 15th century, a period of Mongol-Tartar invasion and growing Christian influence. Commissioned to paint the interior of the Vladimir cathedral, Andrei Rublev (Anatoli Solonitsyn) leaves the Andronnikov monastery with an entourage of monks and assistants, witnessing in his travels the degradations befalling his fellow Russians, including pillage, oppression from tyrants and Mongols, torture, rape, and plague. Faced with the brutalities of the world outside the religious enclave, Rublev’s faith is shaken, prompting him to question the uses or even possibility of art in a degraded world. After Mongols sack the city of Vladimir, burning the very cathedral that he has been commissioned to paint, Rublev takes a vow of silence and withdraws completely, removing himself to the hermetic confines of the monastery.
Continue reading