All the films from all the editions, including those subsequently removed, presently totalling 1154. An easy way of seeing how…
A visually hypnotizing cinematic feat, RUSSIAN ARK is a spellbinding ode to St. Petersburg's State Hermitage Museum. Shot in one fluid take, the camera floats & careens through the lavish corridors of the museum, following the ghost-like narrator & The "Marquis" through different time periods and events, from the 1700s to the present, interacting with a period dressed cast of 867 actors.
"One of the most astonishing films ever made"...Roger Ebert 2003. After reading that review...Russian Ark made it to the top of my "must watch movie list". It took awhile to track this one down, but when I did I eagerly put the movie into the DVD player....and after about 40 minutes I was so bored with the movie that I turned it off. Well almost a decade later...I revisited the movie and this time I got all the way through the movie.
The movie is about two men....one seen, the other only heard, who travel through the Russian State Hermitage Museum and encounter historical figures from the last 200+ years. The story in the movie was still a challenge for…
Its technical achievement is stupendous: 95 minutes, one shot. What it manages to say in that 95 minutes may be even greater as it manages to capture the ideas of life, existence, art, death, history being in the past, moving on, moving forward all within its images, camera movements, and dialogue between our unshown narrator and the man in black guide. It's a extraordinary film, one that deserves to rank amongst the greatest in cinema for its technical mastery which matches its grandiose representation of ideas. This is what great film/art is about.
I will return to this on a larger screen with more knowledge of russian history, but suffice it to say, my mind is blown. I haven't seen all the candidates yet but this is probably near the top of the most sumptuous movies ever made.
Anti-Eisenstein masterpiece for the modern era which main concept is derived from "L'hypothèse du Tableau Volé" (1979), in which we step on the shoes of an unseen, confused wanderer whose past memoirs start slowly to be recovered through Platonic reminiscence, and a visible, conscience-like figure dressed in black, quite possibly symbolizing the darkness of the blurred memory. Seen in that way, the ending makes perfect sense, from the moment that the guy dressed in black decides to "stay", to the final minute with the spoken conclusion. Meanwhile, we are displayed more than two complete centuries of culture, mainly through reflections, surreal interactions with the dreamlike inhabitants and the jaw-dropping displays of the museum, which is the central point, that is,…
I enjoyed the first shot, but the final shot seemed a bit too much.
The idea was an audacious one. A single take film encompassing three centuries of Russian artistic history sweeping along the halls of the Hermitage museum. An hour and forty minutes spent trapped in a dream world floating through the echoing halls of time. Technically the film is a triumph, a marvel of choreography and design shot with breathtaking confidence.
The eye focuses in on the gimmick looking to see if it is really true, that such scale can be captured without cutting corners and it's clear that Sokurov achieves what should be impossible. There have been a number of notable long one-take sequences over time that have been lauded for technical prowess but nothing that can compare to this.
Tecnica y conceptualmente impresionante, pero los limites que impone el plano secuencia lastran bastante todas las ideas sobre el contexto y la historia sociocultural rusa a lo largo del tiempo de los que se supone esta hablando. No soy de los que se quejan demasiado cuando un director pone la forma por encima del fondo, pero es que aqui la forma devora un fondo que me hubiese encantado explorar a un ritmo mas adecuado y no al ritmo que te impone el hecho de no parar de grabar y seguir avanzando y manteniendolo todo en movimiento. Por comparar, este tipo de ideas funciona muchisimo mejor con el triptico "Espejo" - "Nostalgia" - "Andrei Rublev" precisamente porque Tarkovski entiende el ritmo que precisan este tipo de conceptos e ideas. No es mediocre ni por asomo, pero esta claro que "el plano pelicula" restringe demasiado para las pocas posibilidades que parece dar mas alla del despliegue de virtuosismo detras de una camara.
One of the most beautiful movies put to film. Loses a bit on some narrative points, but it'll be hard to care as the whole thing passes by the screen. The whole thing was shot in one take, which is just an incredible viewing experience. We're so used to cut after cut in films, to see everything unfold naturally is just strange and pretty exhilarating.
I'm a fan of long takes; the car scene in CHILDREN OF MEN, the club scene in BOOGIE NIGHTS, that amazing undercover mission tracking shot in episode 4 of TRUE DETECTIVE, etc. etc. The complexity of this type of shot that turns filmmaking into a ballet, and the guts a director has to have to attempt one, baffle me. RUSSIAN ARK with its 96 minute uninterrupted shot through the Hermitage museum in St. Petersburg literally leaves me with my mouth open, and I've seen it now about three times.
Sokurov's RUSSIAN ARK begins with our unnamed and unseen protagonist appearing outside the Winter Palace in around the year 1800. There has been some sort of explosion or apocalypse and our…
I don't care if this was all done in one take, it's so tedious and boring that I shut it off, and that almost never happens.
Technically this film is astonishing. Just the choreography alone to get 2000 actors to work perfectly for a 96 minute single long take is unbelievable. For that alone I give Russian Ark this rating because the story itslef is a bit boring.
Okay, this film is a remarkable achievement in filmmaking but parts of it are borderline unwatchable.
This is a 95-minute uninterrupted shot of the Winter Palace in St. Petersburg which, through the use of magnificent sets and costumed background actors, induces a dreamlike contemplative state, the likes of which is hard to put into words. Different eras waft in and out of existence, you coast past immense architecture and beautifully acute paintings, a threadbare plot and narration spurring on each change. Your eyes orgasm again and again, the undulating wonders of this historic museum captured in sumptuous high definition.
RUSSIAN ARK is a love letter to Russian history. And to art theory. And to perhaps the most underrated film innovation of all time: the Steadicam.
Fairly disappointing - as a one-take film I found it lacked a lot of creativity and inventiveness with regards to the camera itself - lots of shots held on one image (undercutting the drive of a brazen one-take film and providing examples of points in which the film would have been cut a la Rope) and the dialogue dubbing almost felt like cheating in what amounts to a massive cinematic dare.
The central performance was pretty solid, but the internal monologue was dull - in fact most of the dialogue underwhelmed. Some brilliant shots don't entirely make up for a large amount of odd zooms that created a break from the temporal world rather than drawing us in any further.
As an exercize in amassing people it's impressive, but it failed to awe me on a cinematic level.
- A Trip to the Moon
- The Great Train Robbery
- The Birth of a Nation
- Les Vampires
- Citizen Kane
- 2001: A Space Odyssey
- Tokyo Story
- The Rules of the Game
- The Captive
- Clouds of Sils Maria
- Goodbye to Language
- The Homesman
Originally a list made prior to Cannes 2014.
This is every Palme d'Or nominee since the festival began in 1946.…