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更新时间：2023-09-05 19:23
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评论家亚历山大（厄兰·约瑟夫森 Erland Josephson 饰）在瑞典的家中庆祝自己的五十岁生日，年幼的小儿子刚做完咽喉手术不能发声。两人在静默中种下一株树苗期待它生出绿色的枝叶，然而就在当天晚上，电台广播了一则发射核导弹的消息，第三次世界大战即将爆发。绝望的亚历山大向上帝祈祷不要发生战争，甚至他愿意奉献自己的一切来阻止世界末日的来临。期待世界重生的亚历山大在心力交瘁的情况下，烧毁了自己的房子。在熊熊大火中，亚历山大被救护车送进了医院。小儿子来到岸边继续为他们共同栽种的树苗浇水，一切似乎又恢复了平静。 苏联著名电影大师安德烈·塔科夫斯基生前执导的最后一部杰作《牺牲》，荣获1986年戛纳电影节天主教人道精神奖在内的四项大奖，并提名金棕榈奖最佳影片，于1988年荣获第41届英国电影和电视艺术学院奖最佳外语片。
长篇影评
1 ) 台词回顾
油画 --娟娟流水声 大海 海鸟 ---声音
一定是每次潮来 潮退 ， 水留在弯岩里 逗留然后旋回着 在重力驱使下找寻
wait---- hope
======
What dwarf?
Oh, you know who I mean!
That hunchback!
Eh? The one Nietzsche mentioned.
-----
76
00:10:18,200 --> 00:10:20,998
And I've always felt as if...
as if the living I've done so far
hasn't actually been real life
but a long wait for it...
a long wait for something real,
something important!
What about you?
00:10:36,2
Yes, if that's what you mean.
00:10:38,
I just never knew you were
interested in that kind of problem.
00:10:
But I am! I most certainly am!
Unfortunately.
Sometimes I get
the most peculiar notions.
--------------
persona??? 前面对 not real
00:27:08,960 --> 00:27:13,272
For some reason, I started
feeling embarrassed on stage.
I was ashamed to impersonate someone
else, to play others' emotions.
But worst of all, I was ashamed
of being honest on stage.
It was a critic who first saw that.
But it wasn't sudden, not at all.
320
00:27:34,760 --> 00:27:39,276
So you mean that an actor
may not keep his ego intact?
That he must lose his identity?
322
00:27:42,440 --> 00:27:44,271
No, not quite.
What I mean is that an actor's
identity dissolves in his roles.
I didn't want my ego dissolved.
There was something in it
that struck me as sinful,
something feminine and weak.
327
00:28:02,840 --> 00:28:06,594
Aha! Feminine!
So that's what's sinful!
328
00:28:06,800 --> 00:28:10,270
I liked you as an actor, so you quit.
That's it!
===========
00:30:46,480 --> 00:30:50,268
But it's far too much!
Too much, Otto!
363
00:30:50,480 --> 00:30:53,278
I know it's no sacrifice, but...
364
00:30:53,480 --> 00:30:58,429
And why shouldn't it be?
Of course it's a sacrifice!
365
00:30:59,480 --> 00:31:02,756
Every gift involves a sacrifice.
366
00:31:02,960 --> 00:31:06,430
If not, what kind of gift
would it be?
====
From about 1478 to 1482, Leonardo had his own studio in Florence. During this time he got an important commission to paint a church altarpiece, now known as the 'Adoration of the Three Kings'. It is still not done today! The work has figures with only the light and dark areas visible as outlines. The 'Adoration of the Three Kings' shows three kings worshiping the Christ child. Leonardo changed the usual way this scene is usually viewed in the Christian faith.
Three leaders of the Chinese Christian Church[3] cite an alternate proposal for the origin of one of the Magi. They state that many Chinese Christians believe at least one of the Magi came from China. They cite anecdotal evidence about Liu Shang, the chief astrologer during the Han dynasty in China at the time that Jesus was born. Liu Shang discovered a new star the Chinese called the "king star" - which was associated with the birth of a new king. The disappearance of Liu Shang from China's imperial court for two years shortly after this star was discovered, they interpret as perhaps traveling the Silk Road to Bethlehem.
英语？？
00:58:03,360 --> 00:58:05,316
Alexander!
I can't bear it any more!
Please, please!
===========
653
01:02:44,080 --> 01:02:46,310
I think I know, now.
We simply don't want
to depend on anyone.
When two people love each other,
they don't love in the same way.
One of them is strong,
the other, weaker.
And the weaker is always the one
who loves without reckoning...
without reservation.
[卡比利亚之夜].Nights.Of.Cabiria
----1：13 oh , lord ~`
war~~ the fear of death
从此 他安然与死神下棋
拿枪 杀谁？ 孩子 风动的窗帘 一暗一明
裸体的女人 挺立的小乳房 在孩子的床 周围无目的地走动
我的镜头 如侯猎的豹子 慢慢走进 移动 平行移动
心是平静的 平静到极点
透过Adoration of the Three Kings 玻璃的 背影的走远 摄像机呢？
chance
Piero della Francesca 彼埃罗.德拉.夫朗彻斯卡 老头看的那本画册是谁的画？
again --Adoration of the Three King 映着大树 正面老头来
878
01:27:20,440 --> 01:27:24,319
Anyway, I prefer
Piero della Francesca!
879
01:28:24,320 --> 01:28:28,108
<i>As I understood Alexander's words,</i>
<i>he meant</i>
<i>that it is peculiar for a man</i>
<i>to change, of his own free will,</i>
<i>into a work of art.</i>
<i>Generally,</i>
<i>the result of all poetic striving</i>
<i>lies so far from its author</i>
<i>that one can hardly believe</i>
<i>that it is a man-made creation.</i>
<i>In the case of the actor, though,</i>
<i>the reverse is true.</i>
<i>The actor is, himself, his own</i>
<i>creation, his own work of art.</i>、
==persona 演员 actress acting drama--trauma
1：30 again 拿枪 从理疗盒 盒子中
prelude
-964
01:44:27,760 --> 01:44:31,719
put on fresh underwear,
a new jacket, even a tie.
Then I sat down in the chair
to see what I'd made,
through her eyes, as it were.
I...
I sat there...
and looked out through the window.
I had prepared myself
to enjoy the sight.
Anyway, I looked out the window
and saw...
What did I see?
Where had all the beauty gone?
All that was natural.
It was so disgusting.
All that evidence of violence!
戈黛娃夫人（Lady Godiva,或称Godgifu, 约990年—1067年9月10日）是一名英格兰盎格鲁—萨克逊的贵族妇女，依据传说，她为了争取减免丈夫强加于 ... 究竟这个故事中的戈黛娃夫人是称为Godiva还是Godgifu（「gift of God」上帝的礼物）在历史上仍是未知数。 ...
Godiva (or Godgifu) (c. 990?–September 10, 1067) was an Anglo-Saxon noblewoman who, according to legend, rode naked through the streets of Coventry in England in order to gain a remission of the oppressive toll imposed by her husband on his tenants. The name "peeping Tom" for a voyeur comes from later versions of this legend in which a man named Tom watched her ride and was stricken blind.
2007/4/24
迷失于GODIVA
1：49 花瓶振动 后面什么神动
01:48:40,400 --> 01:48:42,755
Save us, Maria!
But why?
You poor, poor man!
Why? No, not that way!
43 glasses 风铃一般
人行道 梦跑 again
1039
01:51:12,320 --> 01:51:18,077
I c-c-can't!
1040
01:51:19,960 --> 01:51:21,313
I can't!
1041
01:51:21,760 --> 01:51:23,512
Drink this.
1042
01:51:23,720 --> 01:51:25,392
No.
1043
01:51:25,600 --> 01:51:27,272
There...
1044
01:51:30,920 --> 01:51:33,275
It'll soon be over.
1045
01:51:41,520 --> 01:51:45,911
What's frightened you so, Alexander?
1046
01:52:35,320 --> 01:52:36,275
Mama!
裸舞的女人 谁 ？ 鸡
victor
1076
01:58:28,640 --> 01:58:33,395
The fact is, what I'm most tired of
is the lot of you.
1077
01:58:36,560 --> 01:58:39,120
Tired of being your nursemaid.
1078
01:58:43,520 --> 01:58:46,080
Your nursemaid and your warden.
1079
01:58:49,720 --> 01:58:51,756
Tired of wiping your noses.
============
japan
两次关的音乐？？
一段音乐 笙箫 呜呜
====
小孩在给japanese tree 浇水
10
00:05:59,200 --> 00:06:01,998
a monk named Ioann Kolov,
that he should water the tree
each day until it came to life.
Put a few stones there, will you?
Anyway, early every morning
Ioann filled a bucket
with water and went out.
He climbed up the mountain
and watered the withered tree
and in the evening
when darkness had fallen
he returned to the monastery.
18
00:06:33,200 --> 00:06:35,998
He did this for three years.
And one fine day, he climbed
up the mountain and saw
that the whole tree
was covered with blossoms!
Say what you will, but a method,
a system, has its virtues.
22
00:06:54,320 --> 00:07:00,156
You know, sometimes I say to myself,
if every single day,
at exactly the same
stroke of the clock,
one were to perform
the same single act,
like a ritual,
unchanging, systematic,
every day at the same time,
the world would be changed.
Yes, something would change.
It would have to.
==============
1176
02:20:28,000 --> 02:20:30,958
"In the beginning was the Word."
1177
02:20:33,080 --> 02:20:35,753
Why is that, Papa?
1178
02:22:17,320 --> 02:22:24,476
This film is dedicated
to my son Andriosha
1179
02:22:24,680 --> 02:22:31,836
with hope and confidence
Andrei Tarkovsky
=====
00:14:13,200 --> 00:14:15,156
Au revoir!
138
00:14:17,520 --> 00:14:18,475
What?
139
00:14:18,680 --> 00:14:20,477
What are you mumbling about?
140
00:14:20,680 --> 00:14:23,353
"In the beginning was the Word."
141
00:14:24,200 --> 00:14:27,476
But you are mute, mute as a fish.
142
00:14:27,680 --> 00:14:29,159
A little roach! (smelt)
02：05：04 回车
2.11.28----17.22
Most of the film takes place inside or around a house that was specially built for the production. The climactic scene at the end of the film is a long tracking shot in which Alexander burns his house and his possessions. It was done in a single, six minute, fifty second take, often misstated as Tarkovsky's longest shot.[
-
Sixtyish philosopher Alexander (Erland Josephson) lives in a beautiful house on an island off Sweden’s Baltic coast, with English wife Adelaide (Susan Fleetwood), teenage daughter Julia (Valerie Maitesse) and young son, known only as Gossen, or “Little Man” (Tommy Kjellvqist). It’s Alexander’s birthday, and he’s visited by eccentric bicycling postman Otto (Allan Erdawll) and smug doctor Viktor (Sven Wollter), who is “carrying on” with Adelaide. Out of the blue, a nuclear war is announced on TV - the telephones and electricity are cut off, and the air is filled with the deafening roar of passing jets. All looks bleak - but then Alexander fervently prays, asking God to avert the impending apocalypse, in return offering to turn his back on his home and family, and take a vow of silence. Next morning, he wakes to find that, somehow, the threat of annihilation has been lifted - and now it’s up to him to keep his side of the bargain...
The Sacrifice is like a compendium of all the ideas (faith, role of artist, power of nature, virtue of childhood) and images (love as levitation, a boy standing by a tree) from his previous six films. As usual, there’s a baffling rush of philosophical debate, stitched together with some of the most astonishing shots in all cinema. Watching this long film is an intermittently dazzling experience, but also somewhat unsatisfying. Just how much of what we’re watching is real, and how much is Alexander’s hallucination - we’re given clues along the way, such a bicycle being parked in a certain way, only to reappear in a slightly different place later on - is open to question. In Tarkovsky’s films, dreams are nothing if not cinematic. But piecing together the director’s “intention” seems to be missing the point. 费里尼的【Orchestra Rehearsal】是唯一没看完的，一群人唧唧刮刮地说话说得我头晕，流畅，太流畅了，而我亲近于涩而重的。
还有塔可夫斯基，我连关于他的记录片都找来了，【The Genius, The Man, the Legend--Andrei Tarkovsky】瑞典人Michal Leszczylowski拍的，大致是表现塔如何拍【牺牲】，感觉比看【雕刻时光】强多了，塔是个很在意细节和感受的人，凳子怎么摆，窗帘往哪儿飘都特讲究，讲道理却不行，【鲁伯廖夫】DVD里有他的访谈录，他居然爬到一棵树上去讲艺术和人生的意义，我脑子里蹦出两个字：耍猴。【第七封印】和【鲁伯廖夫】一比，柏格曼有必要买块豆腐一头撞死，但【雕刻时光】和【魔灯】一比，可以拔根头发上吊的是塔可夫斯基。当然，这只是我胡说。
The camera work is slow and contains all the hallmarks of Tarkovsky and Nykvist. The film features a haunting soundtrack which has three distinct pieces that stand out: the passionate aria Erbarme dich from Johann Sebastian Bach's Mattheus Passion, soothing Japanese flute music, and eerie traditional chants from the Swedish forests (in the old days farm girls used to call home the livestock from their forest pastures in this way). The film also contains several long closeups of Leonardo da Vinci's Adoration of the Magi.
The film uses long takes more than Tarkovsky's previous films. The opening, post-credits shot (a tracking shot of Alexander, Little Man, and Otto talking and walking) lasts nine minutes and twenty-six seconds, and is the longest take in all of Tarkovsky's work.[citation needed] Shots lasting between six and eight minutes are commonplace in the film, and there are only 115 shots in the entire film.[citation needed]
===========
It was out of such ideas that I decided to make The Sacrifice. The sole means of returning to a normal relationship with life is to restore one's independence vis-a-vis the material things of life and consequently reaffirm one's spiritual essence. In this film I deal with one of the aspects of this struggle for anyone living in society: the Christian concept of self-sacrifice. If one has never known such a feeling, never experienced such a desire, then, as far as I am concerned, one ceased to be a man, one begins to revert to the animal condition and becomes a strange machine, an object to be experimented with by society and the state. On the other hand, if one acquires a moral autonomy, one may discover within oneself a capacity for self-sacrifice.
不需要 妻子的hysteric
When one is hungry, one goes to a shop and buys something to eat; but when one is truly depressed, in a kind of spiritual crisis. there Is nowhere to go, except to sexologists and psychoanalysts who have no understanding of what is going on inside one. They are voyeurs and chatterboxes, who console you, soothe you and cost you the earth. They are charlatans, but terribly fashionable charlatans.
信息之奴
In my films one often finds the theme of language, whether present or absent. The fact is that the power of speech which has been given us has an absolutely extraordinary influence. It can inspire us to great or evil actions. And yet, these days, it has lost its value. The world is jam packed with empty chatter. All that information of which we pretend to have such need - consider radio and television - all those permanent infinite debates to be found in newspapers, all that is empty and meaningless. We imagine that, to survive, man has to know all kinds of things which in fact he does not need in the slightest; it's a strictly useless kind of knowledge. We shall all die beneath the weight of this garrulous information. In reality, it is better to act than to speak. As for the words, the phrases, with which we communicate - and this applies to art - they ought to be divested of all trace of passion. It is in the nostalgia that we feel for the Olympian principle, for its coldness, its classical sobriety, that resides the magic, the secret, of the great metaphysical masterpieces.
回到你自己introverted rather than the reverse.
Obviously, the artist himself is a creature of passion, but he dilutes that passion in the forms that he creates. In any case, inserting one's own emotions in a work of art is always vulgar. That's why I am so attracted to Oriental art; or else Bach, who is an ideal representative of art, or Leonardo da Vinci. Though each man most be Capable of expressing himself that he must channel his self-expression does not imply having publicly to produce a book or a film. It is this human vanity which is so typical of the West and which is not to be found in the Orient whose philosophy demands that man withdraw into himself, that he be introverted rather than the reverse.
=====================
I could see that he obviously was not very interested in lighting. To him, of primary importance were composition, camera movements, the literally moving image.
Close-ups are also strikingly rare in Tarkovskij's movies. He preferred to see the actors' movements at a distance, almost choreographed, and alway in the center of the frame.
We had special-effects people brought in from England as there was a requirement in place that the house burn down in eight minutes and ten seconds sharp. Otherwise the film cartridge would run out.
For an entire week this scene was meticulously rehearsed. We had decided to not shoot the scene under sunlit conditions, and so we were forced to get up at two o'clock in the morning, do a few test runs, and then to commence shooting the scene at a carefully selected moment just prior to sunrise.
Approximately half-way through the take, my assistant yells out, "Sven - the camera is losing speed! We got twenty..., now we're at sixteen frames per second! What shall we do?"
We received some additional funding through our Japanese co-producer, and in the end we all decided to give it another shot. Nothing is impossible, as Ingmar Bergman was fond of saying. It was his gang behind the camera here. The house was re-built!
Fortunately, it turned out just fantastic. As the smoke billowed forth from the house the sun shone right through it and generated some truly great shading on the ground. It was a lucky strike indeed that the sun appeared - entirely to our advantage, and Tarkovskij was exceedingly pleased when he saw the end result.
I also asked him why he never showed up in Rome. "I was too shy," he said, "Bergman and Fellini are way too big for me."
----------Sven Nykvist
On the Shooting of The Sacrifice
一定是每次潮来 潮退 ， 水留在弯岩里 逗留然后旋回着 在重力驱使下找寻
wait---- hope
======
What dwarf?
Oh, you know who I mean!
That hunchback!
Eh? The one Nietzsche mentioned.
-----
76
00:10:18,200 --> 00:10:20,998
And I've always felt as if...
as if the living I've done so far
hasn't actually been real life
but a long wait for it...
a long wait for something real,
something important!
What about you?
00:10:36,2
Yes, if that's what you mean.
00:10:38,
I just never knew you were
interested in that kind of problem.
00:10:
But I am! I most certainly am!
Unfortunately.
Sometimes I get
the most peculiar notions.
--------------
persona??? 前面对 not real
00:27:08,960 --> 00:27:13,272
For some reason, I started
feeling embarrassed on stage.
I was ashamed to impersonate someone
else, to play others' emotions.
But worst of all, I was ashamed
of being honest on stage.
It was a critic who first saw that.
But it wasn't sudden, not at all.
320
00:27:34,760 --> 00:27:39,276
So you mean that an actor
may not keep his ego intact?
That he must lose his identity?
322
00:27:42,440 --> 00:27:44,271
No, not quite.
What I mean is that an actor's
identity dissolves in his roles.
I didn't want my ego dissolved.
There was something in it
that struck me as sinful,
something feminine and weak.
327
00:28:02,840 --> 00:28:06,594
Aha! Feminine!
So that's what's sinful!
328
00:28:06,800 --> 00:28:10,270
I liked you as an actor, so you quit.
That's it!
===========
00:30:46,480 --> 00:30:50,268
But it's far too much!
Too much, Otto!
363
00:30:50,480 --> 00:30:53,278
I know it's no sacrifice, but...
364
00:30:53,480 --> 00:30:58,429
And why shouldn't it be?
Of course it's a sacrifice!
365
00:30:59,480 --> 00:31:02,756
Every gift involves a sacrifice.
366
00:31:02,960 --> 00:31:06,430
If not, what kind of gift
would it be?
====
From about 1478 to 1482, Leonardo had his own studio in Florence. During this time he got an important commission to paint a church altarpiece, now known as the 'Adoration of the Three Kings'. It is still not done today! The work has figures with only the light and dark areas visible as outlines. The 'Adoration of the Three Kings' shows three kings worshiping the Christ child. Leonardo changed the usual way this scene is usually viewed in the Christian faith.
Three leaders of the Chinese Christian Church[3] cite an alternate proposal for the origin of one of the Magi. They state that many Chinese Christians believe at least one of the Magi came from China. They cite anecdotal evidence about Liu Shang, the chief astrologer during the Han dynasty in China at the time that Jesus was born. Liu Shang discovered a new star the Chinese called the "king star" - which was associated with the birth of a new king. The disappearance of Liu Shang from China's imperial court for two years shortly after this star was discovered, they interpret as perhaps traveling the Silk Road to Bethlehem.
英语？？
00:58:03,360 --> 00:58:05,316
Alexander!
I can't bear it any more!
Please, please!
===========
653
01:02:44,080 --> 01:02:46,310
I think I know, now.
We simply don't want
to depend on anyone.
When two people love each other,
they don't love in the same way.
One of them is strong,
the other, weaker.
And the weaker is always the one
who loves without reckoning...
without reservation.
[卡比利亚之夜].Nights.Of.Cabiria
----1：13 oh , lord ~`
war~~ the fear of death
从此 他安然与死神下棋
拿枪 杀谁？ 孩子 风动的窗帘 一暗一明
裸体的女人 挺立的小乳房 在孩子的床 周围无目的地走动
我的镜头 如侯猎的豹子 慢慢走进 移动 平行移动
心是平静的 平静到极点
透过Adoration of the Three Kings 玻璃的 背影的走远 摄像机呢？
chance
Piero della Francesca 彼埃罗.德拉.夫朗彻斯卡 老头看的那本画册是谁的画？
again --Adoration of the Three King 映着大树 正面老头来
878
01:27:20,440 --> 01:27:24,319
Anyway, I prefer
Piero della Francesca!
879
01:28:24,320 --> 01:28:28,108
<i>As I understood Alexander's words,</i>
<i>he meant</i>
<i>that it is peculiar for a man</i>
<i>to change, of his own free will,</i>
<i>into a work of art.</i>
<i>Generally,</i>
<i>the result of all poetic striving</i>
<i>lies so far from its author</i>
<i>that one can hardly believe</i>
<i>that it is a man-made creation.</i>
<i>In the case of the actor, though,</i>
<i>the reverse is true.</i>
<i>The actor is, himself, his own</i>
<i>creation, his own work of art.</i>、
==persona 演员 actress acting drama--trauma
1：30 again 拿枪 从理疗盒 盒子中
prelude
-964
01:44:27,760 --> 01:44:31,719
put on fresh underwear,
a new jacket, even a tie.
Then I sat down in the chair
to see what I'd made,
through her eyes, as it were.
I...
I sat there...
and looked out through the window.
I had prepared myself
to enjoy the sight.
Anyway, I looked out the window
and saw...
What did I see?
Where had all the beauty gone?
All that was natural.
It was so disgusting.
All that evidence of violence!
戈黛娃夫人（Lady Godiva,或称Godgifu, 约990年—1067年9月10日）是一名英格兰盎格鲁—萨克逊的贵族妇女，依据传说，她为了争取减免丈夫强加于 ... 究竟这个故事中的戈黛娃夫人是称为Godiva还是Godgifu（「gift of God」上帝的礼物）在历史上仍是未知数。 ...
Godiva (or Godgifu) (c. 990?–September 10, 1067) was an Anglo-Saxon noblewoman who, according to legend, rode naked through the streets of Coventry in England in order to gain a remission of the oppressive toll imposed by her husband on his tenants. The name "peeping Tom" for a voyeur comes from later versions of this legend in which a man named Tom watched her ride and was stricken blind.
2007/4/24
迷失于GODIVA
1：49 花瓶振动 后面什么神动
01:48:40,400 --> 01:48:42,755
Save us, Maria!
But why?
You poor, poor man!
Why? No, not that way!
43 glasses 风铃一般
人行道 梦跑 again
1039
01:51:12,320 --> 01:51:18,077
I c-c-can't!
1040
01:51:19,960 --> 01:51:21,313
I can't!
1041
01:51:21,760 --> 01:51:23,512
Drink this.
1042
01:51:23,720 --> 01:51:25,392
No.
1043
01:51:25,600 --> 01:51:27,272
There...
1044
01:51:30,920 --> 01:51:33,275
It'll soon be over.
1045
01:51:41,520 --> 01:51:45,911
What's frightened you so, Alexander?
1046
01:52:35,320 --> 01:52:36,275
Mama!
裸舞的女人 谁 ？ 鸡
victor
1076
01:58:28,640 --> 01:58:33,395
The fact is, what I'm most tired of
is the lot of you.
1077
01:58:36,560 --> 01:58:39,120
Tired of being your nursemaid.
1078
01:58:43,520 --> 01:58:46,080
Your nursemaid and your warden.
1079
01:58:49,720 --> 01:58:51,756
Tired of wiping your noses.
============
japan
两次关的音乐？？
一段音乐 笙箫 呜呜
====
小孩在给japanese tree 浇水
10
00:05:59,200 --> 00:06:01,998
a monk named Ioann Kolov,
that he should water the tree
each day until it came to life.
Put a few stones there, will you?
Anyway, early every morning
Ioann filled a bucket
with water and went out.
He climbed up the mountain
and watered the withered tree
and in the evening
when darkness had fallen
he returned to the monastery.
18
00:06:33,200 --> 00:06:35,998
He did this for three years.
And one fine day, he climbed
up the mountain and saw
that the whole tree
was covered with blossoms!
Say what you will, but a method,
a system, has its virtues.
22
00:06:54,320 --> 00:07:00,156
You know, sometimes I say to myself,
if every single day,
at exactly the same
stroke of the clock,
one were to perform
the same single act,
like a ritual,
unchanging, systematic,
every day at the same time,
the world would be changed.
Yes, something would change.
It would have to.
==============
1176
02:20:28,000 --> 02:20:30,958
"In the beginning was the Word."
1177
02:20:33,080 --> 02:20:35,753
Why is that, Papa?
1178
02:22:17,320 --> 02:22:24,476
This film is dedicated
to my son Andriosha
1179
02:22:24,680 --> 02:22:31,836
with hope and confidence
Andrei Tarkovsky
=====
00:14:13,200 --> 00:14:15,156
Au revoir!
138
00:14:17,520 --> 00:14:18,475
What?
139
00:14:18,680 --> 00:14:20,477
What are you mumbling about?
140
00:14:20,680 --> 00:14:23,353
"In the beginning was the Word."
141
00:14:24,200 --> 00:14:27,476
But you are mute, mute as a fish.
142
00:14:27,680 --> 00:14:29,159
A little roach! (smelt)
02：05：04 回车
2.11.28----17.22
Most of the film takes place inside or around a house that was specially built for the production. The climactic scene at the end of the film is a long tracking shot in which Alexander burns his house and his possessions. It was done in a single, six minute, fifty second take, often misstated as Tarkovsky's longest shot.[
-
Sixtyish philosopher Alexander (Erland Josephson) lives in a beautiful house on an island off Sweden’s Baltic coast, with English wife Adelaide (Susan Fleetwood), teenage daughter Julia (Valerie Maitesse) and young son, known only as Gossen, or “Little Man” (Tommy Kjellvqist). It’s Alexander’s birthday, and he’s visited by eccentric bicycling postman Otto (Allan Erdawll) and smug doctor Viktor (Sven Wollter), who is “carrying on” with Adelaide. Out of the blue, a nuclear war is announced on TV - the telephones and electricity are cut off, and the air is filled with the deafening roar of passing jets. All looks bleak - but then Alexander fervently prays, asking God to avert the impending apocalypse, in return offering to turn his back on his home and family, and take a vow of silence. Next morning, he wakes to find that, somehow, the threat of annihilation has been lifted - and now it’s up to him to keep his side of the bargain...
The Sacrifice is like a compendium of all the ideas (faith, role of artist, power of nature, virtue of childhood) and images (love as levitation, a boy standing by a tree) from his previous six films. As usual, there’s a baffling rush of philosophical debate, stitched together with some of the most astonishing shots in all cinema. Watching this long film is an intermittently dazzling experience, but also somewhat unsatisfying. Just how much of what we’re watching is real, and how much is Alexander’s hallucination - we’re given clues along the way, such a bicycle being parked in a certain way, only to reappear in a slightly different place later on - is open to question. In Tarkovsky’s films, dreams are nothing if not cinematic. But piecing together the director’s “intention” seems to be missing the point. 费里尼的【Orchestra Rehearsal】是唯一没看完的，一群人唧唧刮刮地说话说得我头晕，流畅，太流畅了，而我亲近于涩而重的。
还有塔可夫斯基，我连关于他的记录片都找来了，【The Genius, The Man, the Legend--Andrei Tarkovsky】瑞典人Michal Leszczylowski拍的，大致是表现塔如何拍【牺牲】，感觉比看【雕刻时光】强多了，塔是个很在意细节和感受的人，凳子怎么摆，窗帘往哪儿飘都特讲究，讲道理却不行，【鲁伯廖夫】DVD里有他的访谈录，他居然爬到一棵树上去讲艺术和人生的意义，我脑子里蹦出两个字：耍猴。【第七封印】和【鲁伯廖夫】一比，柏格曼有必要买块豆腐一头撞死，但【雕刻时光】和【魔灯】一比，可以拔根头发上吊的是塔可夫斯基。当然，这只是我胡说。
The camera work is slow and contains all the hallmarks of Tarkovsky and Nykvist. The film features a haunting soundtrack which has three distinct pieces that stand out: the passionate aria Erbarme dich from Johann Sebastian Bach's Mattheus Passion, soothing Japanese flute music, and eerie traditional chants from the Swedish forests (in the old days farm girls used to call home the livestock from their forest pastures in this way). The film also contains several long closeups of Leonardo da Vinci's Adoration of the Magi.
The film uses long takes more than Tarkovsky's previous films. The opening, post-credits shot (a tracking shot of Alexander, Little Man, and Otto talking and walking) lasts nine minutes and twenty-six seconds, and is the longest take in all of Tarkovsky's work.[citation needed] Shots lasting between six and eight minutes are commonplace in the film, and there are only 115 shots in the entire film.[citation needed]
===========
It was out of such ideas that I decided to make The Sacrifice. The sole means of returning to a normal relationship with life is to restore one's independence vis-a-vis the material things of life and consequently reaffirm one's spiritual essence. In this film I deal with one of the aspects of this struggle for anyone living in society: the Christian concept of self-sacrifice. If one has never known such a feeling, never experienced such a desire, then, as far as I am concerned, one ceased to be a man, one begins to revert to the animal condition and becomes a strange machine, an object to be experimented with by society and the state. On the other hand, if one acquires a moral autonomy, one may discover within oneself a capacity for self-sacrifice.
不需要 妻子的hysteric
When one is hungry, one goes to a shop and buys something to eat; but when one is truly depressed, in a kind of spiritual crisis. there Is nowhere to go, except to sexologists and psychoanalysts who have no understanding of what is going on inside one. They are voyeurs and chatterboxes, who console you, soothe you and cost you the earth. They are charlatans, but terribly fashionable charlatans.
信息之奴
In my films one often finds the theme of language, whether present or absent. The fact is that the power of speech which has been given us has an absolutely extraordinary influence. It can inspire us to great or evil actions. And yet, these days, it has lost its value. The world is jam packed with empty chatter. All that information of which we pretend to have such need - consider radio and television - all those permanent infinite debates to be found in newspapers, all that is empty and meaningless. We imagine that, to survive, man has to know all kinds of things which in fact he does not need in the slightest; it's a strictly useless kind of knowledge. We shall all die beneath the weight of this garrulous information. In reality, it is better to act than to speak. As for the words, the phrases, with which we communicate - and this applies to art - they ought to be divested of all trace of passion. It is in the nostalgia that we feel for the Olympian principle, for its coldness, its classical sobriety, that resides the magic, the secret, of the great metaphysical masterpieces.
回到你自己introverted rather than the reverse.
Obviously, the artist himself is a creature of passion, but he dilutes that passion in the forms that he creates. In any case, inserting one's own emotions in a work of art is always vulgar. That's why I am so attracted to Oriental art; or else Bach, who is an ideal representative of art, or Leonardo da Vinci. Though each man most be Capable of expressing himself that he must channel his self-expression does not imply having publicly to produce a book or a film. It is this human vanity which is so typical of the West and which is not to be found in the Orient whose philosophy demands that man withdraw into himself, that he be introverted rather than the reverse.
=====================
I could see that he obviously was not very interested in lighting. To him, of primary importance were composition, camera movements, the literally moving image.
Close-ups are also strikingly rare in Tarkovskij's movies. He preferred to see the actors' movements at a distance, almost choreographed, and alway in the center of the frame.
We had special-effects people brought in from England as there was a requirement in place that the house burn down in eight minutes and ten seconds sharp. Otherwise the film cartridge would run out.
For an entire week this scene was meticulously rehearsed. We had decided to not shoot the scene under sunlit conditions, and so we were forced to get up at two o'clock in the morning, do a few test runs, and then to commence shooting the scene at a carefully selected moment just prior to sunrise.
Approximately half-way through the take, my assistant yells out, "Sven - the camera is losing speed! We got twenty..., now we're at sixteen frames per second! What shall we do?"
We received some additional funding through our Japanese co-producer, and in the end we all decided to give it another shot. Nothing is impossible, as Ingmar Bergman was fond of saying. It was his gang behind the camera here. The house was re-built!
Fortunately, it turned out just fantastic. As the smoke billowed forth from the house the sun shone right through it and generated some truly great shading on the ground. It was a lucky strike indeed that the sun appeared - entirely to our advantage, and Tarkovskij was exceedingly pleased when he saw the end result.
I also asked him why he never showed up in Rome. "I was too shy," he said, "Bergman and Fellini are way too big for me."
----------Sven Nykvist
On the Shooting of The Sacrifice
2 ) “在我的屋子里，一片寂静。”
亚力山大注视着远方，辽阔的俄罗斯大地与天空交接的地方。而此时小男孩已经睡去，他对于大地的疮痍浑然不知。
“如果世间还有罪恶，不闻不问是我最大的幸福……不要惊醒我！请讲得轻些。”（普罗提诺）
或许亚力山大烧毁房屋，只是因为他把希望看得太高，高于大地之上，又或是太远，远在天空和大地的那一线，他注视的地方。或许他希望着希望本身前来与他照面，甚至拥抱，就像是怀中的马利亚。他希望希望本身如同大地一般地触手可及。
对亚力山大来说，希望是什么？“生命”，他如是说道。而当象征死亡的战争来临，他却在圣像面前饱含热泪地祈祷，“那怕是牺牲生命”。他是绝望的，因为希望是生命，生命即也是希望。亚力山大又绝望着什么？
在《向导》中，诗人谈到一种东西，律法。这种东西铁面无情，不可穿透。而塔氏片中的世界，正是被这种律法笼罩着，如同寂静的斗室，时而悄然无声，时而喧闹异常。人在其中，显得是额外的，不必要的拼贴物。而《向导》中的弥赛亚，正是律法的穿透者，奇迹。满足和关怀人的一切希望。当亚力山大点燃房子，“奇迹”降临了么？塔氏没有再说。但上帝在《牺牲》中始终是沉默的，亚历山大究竟被关进了疯人院，他被认为是荒谬的。如果，对于片中的世界来说，人的渴求，悲哀，那怕生命，都只是“火狱曾间一声呐喊”，是荒谬的，那么对于人的生存，世界又何曾不是荒谬的？生命的高贵之处恰恰是即使其被消灭，也知道自己被消灭了。而消灭生命的世界却不知道，它一无所知。对于“善”莫不关心的世界，对于人性的伟大不闻不问，一切诉求都不能得到关照的世界，其本质更为无知和荒谬。亚力山大撞见了这样一个世界，他绝望了。
当亚力山大望向那棵茁壮的树苗，他看到了“生命”，希望。他也看到了所处世界的荒谬：为了生命，他必须牺牲，那怕是选择死亡。为了希望，他必须绝望。亚力山大在死中才看到了生，就像那棵树苗，只有在大地的气味中才能触目天空的临在。而亚力山大那怕是这般绝望，却也是热泪盈眶的。
“如果世间还有罪恶，不闻不问是我最大的幸福……不要惊醒我！请讲得轻些。”（普罗提诺）
或许亚力山大烧毁房屋，只是因为他把希望看得太高，高于大地之上，又或是太远，远在天空和大地的那一线，他注视的地方。或许他希望着希望本身前来与他照面，甚至拥抱，就像是怀中的马利亚。他希望希望本身如同大地一般地触手可及。
对亚力山大来说，希望是什么？“生命”，他如是说道。而当象征死亡的战争来临，他却在圣像面前饱含热泪地祈祷，“那怕是牺牲生命”。他是绝望的，因为希望是生命，生命即也是希望。亚力山大又绝望着什么？
在《向导》中，诗人谈到一种东西，律法。这种东西铁面无情，不可穿透。而塔氏片中的世界，正是被这种律法笼罩着，如同寂静的斗室，时而悄然无声，时而喧闹异常。人在其中，显得是额外的，不必要的拼贴物。而《向导》中的弥赛亚，正是律法的穿透者，奇迹。满足和关怀人的一切希望。当亚力山大点燃房子，“奇迹”降临了么？塔氏没有再说。但上帝在《牺牲》中始终是沉默的，亚历山大究竟被关进了疯人院，他被认为是荒谬的。如果，对于片中的世界来说，人的渴求，悲哀，那怕生命，都只是“火狱曾间一声呐喊”，是荒谬的，那么对于人的生存，世界又何曾不是荒谬的？生命的高贵之处恰恰是即使其被消灭，也知道自己被消灭了。而消灭生命的世界却不知道，它一无所知。对于“善”莫不关心的世界，对于人性的伟大不闻不问，一切诉求都不能得到关照的世界，其本质更为无知和荒谬。亚力山大撞见了这样一个世界，他绝望了。
当亚力山大望向那棵茁壮的树苗，他看到了“生命”，希望。他也看到了所处世界的荒谬：为了生命，他必须牺牲，那怕是选择死亡。为了希望，他必须绝望。亚力山大在死中才看到了生，就像那棵树苗，只有在大地的气味中才能触目天空的临在。而亚力山大那怕是这般绝望，却也是热泪盈眶的。
3 ) 《成为孩子》
当我们惊叹于由经验精心建构起的文明之美时，正如亚历山大沉醉于家宅和地图之美，人是否有必要对自然和文明进行批判性说明来证明自然的体系之特殊性？其实，当意志开始假定本体为经验时，就已经错了，因为此时意志需要考虑欲求的结果，而不考虑在自然认识中凡发生的事情的原则，当人的主观准则不能符合自然律时，人的审美、认知方式、逻辑思维就会畸形。事实上，人的主观准则已经离自然律很远了，人类以经验为主要根基创建了文明来替代了自然，进而功利经验主义替代了道德理性主义，我们得到了大自然的所有物质，却用与自然背道而驰的方式对物质进行再次联结。人们有时由于主观准则能动作用的消失而暂停联结物质，对自然抱有希望，但此时的客观环境已经不符合自然律，即使无为，也无法回到与自然律相符合的客观法则上，我们的主观能动性也无法以为符合自然律的方式去处理对象。但乐观的是，我们不用去怀疑自然律的真实性、不必去等待，只需要有这样的意志，正如有去欣赏一幅印象画的意志一样，只要感官世界起能动作用，便能表象物质、重新认识自然律。
出于自身对探讨问题的不断需要，我们要把“自然”作为一种形式、倾向，独立于任何对象之外，而能够现实地作为自然倾向存在的，只有形而上学，作为自然的倾向的形而上学就是纯粹理性自身，纯粹理性本身必然的课题为：上帝、自由、不朽。当我们寻找到一种解决这些问题以及有准备解决这些问题的一门科学后，我们就独立于任何对象之外，认识作为一种形式、倾向的“自然”，进而认识自然律。
与自然律相联系的理性，我们称之为精神。精神是造物主，它本身具有生命，所有时代、所有国家的人都称其为“我父上帝”，因此，物质与精神间的联系是上帝的意志，作为物的性状的完善，是被表现在实体中的最高完善，因为它包含存在者对所有一般目的的充分性，即使是完全抛弃了实证主义和经验主义的，给枯树在每天固定的时间里浇水、去从一个被称作“女巫”的人那里求得母爱这样的目的也同样具有道德意义。实证主义者认为，上帝无法在感性直观里表象，因此上帝就不存在。其实，对上帝的否认就是对超过感性以外任何事物的否认，包括对理性、自然的否认。事实上我们所有理性存在者所需要的一切现象，包括物质实体都必然是造物主思想提炼后的产物，与上帝必定保留着某种联系，因此物质世界的自然必然包含精神和道德的特点，而认识这些精神与道德的特点，本质上就是在感受自然的美，实证主义者和经验主义者早已忘记自然的美，他们只承认精心打扮后的华丽与精致，只有信仰上帝的人才能感受到自然之美，因为在最广泛最深远的意义上，美是对世界的表达，上帝是完美的，真、善、美只是上帝的不同面孔，美若要臻于完美，更高层次精神元素的存在是极重要的，为了不断接近完美，我们需要马不停蹄地提高自己的精神层次，从抛弃经验开始，超越感性、超越质料、超越形式，直到完全自由，像独立于自然律之外的道德律以自由的名义直接规定人类意志一样，自由的人也以自由的名义直接规定人类意志，但即使这样，自由的人仍能保有童时的心灵，他们希望得到所有母亲的爱、即使是前人犯过的错误他们也会犯、会和比自己生理年龄更小的人玩捉迷藏游戏，但这些都是有道德意义的，因为自由存在者的感官世界整体上拥有具有完全由自身规定自身的原因性的无条件者，即自由的绝对自发性，他们自由行动的原因性是身体上无条件的，完善的自由存在者会相信他们就是自由本体，正因为相信，所以他们不朽，他们是内在永恒之美的预示、本身是完满又令人满足的善，他们能掌握自然之源最终最崇高的表达——道德，并用作为自然存在之符号的语言表达出来：“太初有道。”
为了发挥道德的能动作用，我们从“形式”上的自然进入到“质料”上的自然，即具有具体对象，但要排除一切经验：忘记自己的人际关系和家庭关系、烧掉自己精心建构并引以为傲的家宅、与所爱之人不辞而别，以及，忘记自己的语言，因为我们是自由存在者，我们以上帝的意志来联结物质，让所有的物质在自然中不朽。我们要牺牲一切、回到最初的运动状态、成为孩子、创造新的价值！
我过去的孩子、我现在的孩子、我将来的孩子，你们有一个共同的名字——上帝的孩子，我为你们进行了一次危险但有必要的奠基，当实证主义者和经验主义者嫉妒你信仰上帝、追求自由、相信不朽时，你有足够的勇气和信心继续坚持下去，而我愿意通过献祭我的生命来给予你们这样的勇气和信心！
4 ) FIFF27丨DAY5《牺牲》：万物起始，就有了语言，你却沉默得像条鱼
第27届法罗岛电影节第5个放映日为大家带来主竞赛单元的《牺牲》，下面请看场刊影评人的评价了！
米米
永远“看不见”的希望，永远做不到的“牺牲”，永远都在等。
孟山
人总是这样，思考的太多，行动的太少，说不出口的太多，无力的行为太多，但是寄托于下一代就是可行的答案吗，这应该没有人可以回答。
dama.W
摄影构图画面完美，就是对故事本身不太有感觉，作为老塔的人生最后一部电影也算是一个完美的句号。
Andrea
装满千年往事的老屋终会浴火涅槃，枯树之下依然守着相信的少年，不变的是诗意。
一桶猫
极高水准的色彩运用和长镜头调度 尤其是结尾相当震撼 一如既往沉重、绝望、末世的气息 关于宗教、哲学、信念的思辨贯穿全片 首尾呼应的浇树也象征着希望 对于老塔来说是最完美的告别诗
Sanders03
消亡之人
房子最后烧得只剩几根黑漆漆的木头，虚弱地搭在空中，只等风一吹就倒了。它就好像那枚核弹发射之后整个人类文明苍白可怜的缩影。 付之一炬。到头来什么都抵不过一把火的。而这火总是人类自己放的。 放火多容易啊。哪有什么牺牲呢？不过是一个没胆子迎接明天的疯子自欺欺人自暴自弃的一场表演。塔可夫斯基的超验影像在以往总让我感到宽慰，但这次好像也只让我觉得是大梦一场。 最喜欢的只会是那些对人类罪状语无伦次的控诉，那些抽泣和呢喃。 因为我对当下的判断是：一切的救赎都是假的，只有痛苦是永垂不朽的真实。
快乐王子
牺牲后的新生，或许塔究极一生都是在呼唤爱和希望、信仰，他所做的一切不过是在期盼着这个世界能够更好。矛盾的地方在于一方面亚历山大甘愿牺牲自己的所有去换取往日的欢愉与和平，但他也无比清楚人类本身的存在就是一种暴力，扫荡了所有的自然之美，世界不过是一片荒芜。超现实的景象与梦境关联，或许所有的恐惧也仅仅是一场梦，但他还是要去做，而他唯一能做的就是将目光转移到天上祈求玛丽亚将所有人救赎，祈求为人类而殉身，祈求希望在燃烧的房子、滚滚的浓烟之后闪耀。最后孩子开口说话，土地、树、海、人类于此刻共存，或许塔依然希望自己去相信，也许这个世界会变好。
三色堇紫
安德烈·塔可夫斯基导演遗世之作，世界毁灭前的惊世预言，生命终结前的自我牺牲。轻盈到无法落泪的孤寂之痛，朦胧到无法穿透的虚幻梦境，残酷的黑白影像，写满了腐朽破败的荒凉景致，在如神交般的时刻相拥入眠，漂浮着的身躯和空荡荡的灵魂，一把火焚尽了过往岁月的残留痕迹，一切如醉梦般清醒。万物起始，就有了语言，我们在希望与失望中走向死亡，直到终点。
伊菲吉妮娅
塔式遗作！是困惑，是绝望，是恐惧，是祈祷，是牺牲，是献祭，是生死间的徘徊，是对生命理想的踟蹰；灰冷阴暗的基调，弥漫不散的末世气息，全程随时可能崩溃却又紧绷着的最后一根独弦，终于在结尾的大火中毁灭而后重生；爱与信念重回大地，希望之树必将生生不息！
FranzCamus
神学 宗教学 形而上学。我看不懂 但是我大受震撼！
#FIFF27#第5日的场刊将于稍后释出，请大家拭目以待了。
5 ) 牺牲（上）：当爱使我们逐渐退化失去自由，我们也让爱成了燃尽一切的火焰
初看塔可夫斯基的影片仿佛是个奇迹，
暮然我发现自己置身于一个房间的门口，
过去从没有人把这房间的钥匙交给我，
我一直渴望能进去，
而他却能进入其中，行动自如，游刃有余。
——英格玛·伯格曼
忧郁在塔可夫斯基的镜头中是生活的常态。似乎像是一种诉说哲思与谈论存在的必备武器。
而忧郁背后隐藏额情感是热烈的温柔的，疲乏的坚硬的，柔软的哲学的肉体与情感。
几乎在所有的文本与艺术对于“欲望与爱”的讨论都存在一种深层次的焦虑和词语的匮乏。因为相较于时间来说，欲望与爱并不是永恒的定义。
时间能够冲淡一切。
“爱就是束缚的极致，同时也是自由的极致。”在《雕刻时光》中关于《牺牲》的叙述，他将片中从始至终都存在的忧郁感解释为对于爱的永恒性的怀疑，以及人与人情感之间产生的矛盾与对立。这种矛盾与对立，就像是在享受日照般光明的同时，另一面必然朝向的是地狱一般的寒冷。
《牺牲》探讨的是爱与人的个性的阴阳两极。并且这种类似于两条相等波长的轨迹，在生命体的真实中共同存在：
一条轨迹是对于生存的追逐，需要规划性与积极性去推动希望的持续，从而维持好自我的生命力，而另一条轨迹是荒谬的虚无的，不断感受生命轮回的无意义，就像死一般的黑暗与语言无力感。勇往直前的斗志和在原地踏步的虚无，不断在同一个心灵当中发生反应、交叉、重合。所以幸福的或者关键的、重要的、悲惨的、无以复加的时刻，都会交替前来。
亚历山大的命运，别这两种光明与黑暗的势力主宰、鞭笞。
在面临内在世界的崩塌，面临世界末日的来临，人类该怎样保存希望？
A
忍耐
“用牺牲换取和谐主题，为何会触动我？是爱的双边依赖关系吗？
为什么没有人想到，爱只可能是相互的，其他形式的都不是爱。”
影片塔可夫斯基一贯的诗意之中展开。压力山大与自己咽喉手术的儿子在空旷的草原种了一棵枯树，并且提到基督教中的一则寓言：
东正教的一位修道士在山上种了一棵枯树，并且让他的以为弟子每天给这可枯树浇水，直到它成活，每天黎明十分，这位弟子带着一桶水出门，他爬上山给那可枯树浇水，晚上回到修道院。就这样持续了三年，有一天他突然发现那棵枯树开满了鲜花。
这则简单的寓言像一首开篇的小诗，简单却又引领了《牺牲》全篇的真理：世界上，有谁能够幸福的活着呢？人的心灵和所有的植物都是一样的，会突然性的衰竭，随着时间变得腐朽。唯独付出像寓言种的弟子那样非凡的努力，才能够撑起片刻希望，才能够获得片刻的幸福。
在塔可夫斯基忧郁的长镜头中，忍耐与静止是一种反作用力，对抗世界的变化。而这种元语言性质的镜头表现，所有的指示意义都在阐述一个简单而明显的事实，当你年逾古稀，当世间所有的一切都对你失去了诱惑力的时候，生活的真相才会存在，才会显露出真是的面目。
这不是因为你自己的思维结构的改变，以及行为习惯的变化而变化的，而是命运一般的一种现实：从产生的源头开始，枯燥和无聊的痛苦，就注定不曾有过任何改变，直到生命终结的那一天。
你是一位著名记者，写戏剧评论和文
你是一位著名记者，写戏剧评论和文学评论，给大学学生讲授美学，你还写散文。
但你却如此阴郁
什么叫阴郁？
你不应该这么悲伤，这么向往！
你不应该等待，
这是关键。人不应该等待。
“不应该等待？”谁说我在等待？
所有人都在等待。比如我，我一生都在等待。这一生，我感觉，就在火车站内等待着。仿佛我经历的人生不是真实的，而是漫长的等待。等待某种真实。
等待是忍受的一种常态。这就像《等待戈多》所揭示出来的生命终极命题，你所梦想的任何事情、那些诱惑的希望，外在靓丽的预约，做爱后的身体等，所共同推动的那种生命状态，永远也不会到来。而我们的生活却永远笼罩在“等待”的玻璃面罩之中，失去所有的主动权，进而被这种理想状态的生活目标，折磨的精疲力竭。
B
幸福生活所谓何物
“看透时空，预知未来是一种可怕的天赋，
注定要为自己的使命饱受痛苦。”
亚历山大的生日庆典，是对于一生的经验总结。作为一个典型的上帝的选民，坦诚罪恶的一生。当然，并没有任何人是无辜的，哪怕世界上最为神圣的人也是如此。
以前的人生，对于当下来说，也何尝不是一种原罪。玩弄过的激情，强烈与温柔；玩弄过的情感，分手与伤心；玩弄过的怎样用尽一切办法来展现自己诱惑的外表。哪怕是为了充实自己的思想，以及人生的维度，来进行行为和语言的设想。为了表达思想，将生命变成一种情感符号。
但是这一切的一切，都是不在场的空。
冷漠吞噬了行为的终极意义；疏离让外表成为一种虚无······
无论从哪个层面进行分析，亚历山大的一生也就是我们每个人所必须经历的一生，一种从内到外，双重性质失败的一生。这种失败是想要往更加深刻的人生进行超越的失败，是试图对于当下的枯燥与乏味进行彻底的翻转的失败。
当你决定，让另一个人料理你的生活，预测你的生活，决定你的生活，满足你的生活的时候，就已经注定了遁入类似的空无。
在亚历山大海边的房子里，他有一段与作为医生的大儿子之间的对话：
睁开眼，阳和你都在～
睁开眼，阳光和你都在～
睁开眼，阳光和你都在～
睁开眼，阳光和你都在～
你不觉得你的人生很失败？
你不觉得你的人生很失败么？
不，为什么？
以前我也这么想，但是自从儿子出生，
一切都变了。随着他的成长，
我非常依恋他。但我也有困惑，
我想过一种更高级的生活，
我学了哲学，宗教、历史、美学，
结果却把自己关进了牢笼，还是自愿的。
但同时我很快乐，就像今天。
这种生活形态，延续了几千年的社会结构，都基于一个同样的原则：人们互相依靠，凭借彼此的力量减轻生活的奴役，从而实现真正的自由。
不再把指针指向自我的生活哲学，究竟是一种怎样的语言方式：
人们会随之不再妄想自身，甚至将自己的生命目的当做子女或者他人的礼仪、生存、爱情、方法论等培训的媒介。
这是一种无形状态中的掠夺和施虐。
我记得在日剧《代笔作家》中中谷美纪为了反抗母亲的操控欲望，努力的为自己的生命做出决定。唯独挣脱，才能够获取生命中的精华，无论你采取什么样的生活方式。
但是这并不是真理本身，这只是获取真理的一种捷径。
那么，采用一种生活方式去挣脱以后会怎样？
在《牺牲》中，塔可夫斯基安排了玛利亚这个女性，来让亚历山大拯救灵魂。为了拯救他生活当中朝向地狱一般寒冷的一面。
深深的情欲与性的自我解救方式，最终带领我们走向的依然是一个越来越远的方向，直到对于活着的评判只能成为虚构的幻觉。所有的感悟和思考都会埋葬在对于幸福的希冀和歇斯底里当中。
C
距离
“她有多在乎别人，急于肯定自己的力量和攻击本能就有多强。
她无从洞悉真理，因而理解不了别人的世界。
但即便她看到了那个世界，她也不愿而且不能进入。”
爱是一种冷暴力。
当你爱上某个人，你会忘记那些陌生的身体，你会克服在你面前的这个人。当这种专一性以及冷暴力性质的自我封杀的情感，开始将自我臆想的各种可能性全部杀死，存储在一个狭小的维度，那么一次一夜情或一段激情韵事，只能算是漫长的渴望爱的虚荣的人生中的插曲。你绝对不会忘记一次真正的相遇，一见钟情就是一种暴力的行动。
阿德莱德的疯狂和专断，讥讽与嘲笑不断的去折磨着亚历山大以及每一个人，她精神上彻底的虚空与亚历山大的忧郁和敏感形成了强大的对抗力量。低贱与崇高究竟能够怎样在同样的空间进行共存？
愚笨的人完全按照“快乐——不快乐”的规则去鉴定，而智慧的生命总是按照理性的入世经验与精神的饥饿感，去达到优美与崇高的生命。
睁开眼，阳和你都在～
睁开眼，阳
我现在明白了，我根本不愿依靠任何人。
相爱的两个人，爱的并不一样，
一个是弱者，一个是强者。
弱者总是爱的不顾一切，毫无保留。
现在我感觉像是从一个梦中醒来，
经历了另一种人生。
不知为什么，我总是在抵抗，在斗争，
在保护自己，仿佛我体内有一个人在说，
不要屈服，不要赞同任何事，否则会死。
无论是谁一旦与某种自我主张的，个性主义的生命哲学相关联，就会在不知不觉之间变成这个世界的对立物，变成了他人纯粹的恶的无止境场域。
精神的空虚使得阿德莱德对待亚历山大，正如一颗每时每刻都面临爆发的恐惧的原子弹。同样也是她的偏执与强势，以一种生活受害者的特权，用所有的行为去导致亚历山大最后的悲剧。
所有自称是高尚的美丽的灵魂背后，都会事先建构起属于个人的自我的社会现实，似乎只有这样，她才能够完全承受的住生活施加在她身上的一切。
但是在这种受生活的苦难的被动行为同时，她在向外扩散自己的罪恶与阴邪。
暮然我发现自己置身于一个房间的门口，
过去从没有人把这房间的钥匙交给我，
我一直渴望能进去，
而他却能进入其中，行动自如，游刃有余。
——英格玛·伯格曼
忧郁在塔可夫斯基的镜头中是生活的常态。似乎像是一种诉说哲思与谈论存在的必备武器。
而忧郁背后隐藏额情感是热烈的温柔的，疲乏的坚硬的，柔软的哲学的肉体与情感。
几乎在所有的文本与艺术对于“欲望与爱”的讨论都存在一种深层次的焦虑和词语的匮乏。因为相较于时间来说，欲望与爱并不是永恒的定义。
时间能够冲淡一切。
“爱就是束缚的极致，同时也是自由的极致。”在《雕刻时光》中关于《牺牲》的叙述，他将片中从始至终都存在的忧郁感解释为对于爱的永恒性的怀疑，以及人与人情感之间产生的矛盾与对立。这种矛盾与对立，就像是在享受日照般光明的同时，另一面必然朝向的是地狱一般的寒冷。
《牺牲》探讨的是爱与人的个性的阴阳两极。并且这种类似于两条相等波长的轨迹，在生命体的真实中共同存在：
一条轨迹是对于生存的追逐，需要规划性与积极性去推动希望的持续，从而维持好自我的生命力，而另一条轨迹是荒谬的虚无的，不断感受生命轮回的无意义，就像死一般的黑暗与语言无力感。勇往直前的斗志和在原地踏步的虚无，不断在同一个心灵当中发生反应、交叉、重合。所以幸福的或者关键的、重要的、悲惨的、无以复加的时刻，都会交替前来。
亚历山大的命运，别这两种光明与黑暗的势力主宰、鞭笞。
在面临内在世界的崩塌，面临世界末日的来临，人类该怎样保存希望？
A
忍耐
“用牺牲换取和谐主题，为何会触动我？是爱的双边依赖关系吗？
为什么没有人想到，爱只可能是相互的，其他形式的都不是爱。”
影片塔可夫斯基一贯的诗意之中展开。压力山大与自己咽喉手术的儿子在空旷的草原种了一棵枯树，并且提到基督教中的一则寓言：
东正教的一位修道士在山上种了一棵枯树，并且让他的以为弟子每天给这可枯树浇水，直到它成活，每天黎明十分，这位弟子带着一桶水出门，他爬上山给那可枯树浇水，晚上回到修道院。就这样持续了三年，有一天他突然发现那棵枯树开满了鲜花。
这则简单的寓言像一首开篇的小诗，简单却又引领了《牺牲》全篇的真理：世界上，有谁能够幸福的活着呢？人的心灵和所有的植物都是一样的，会突然性的衰竭，随着时间变得腐朽。唯独付出像寓言种的弟子那样非凡的努力，才能够撑起片刻希望，才能够获得片刻的幸福。
在塔可夫斯基忧郁的长镜头中，忍耐与静止是一种反作用力，对抗世界的变化。而这种元语言性质的镜头表现，所有的指示意义都在阐述一个简单而明显的事实，当你年逾古稀，当世间所有的一切都对你失去了诱惑力的时候，生活的真相才会存在，才会显露出真是的面目。
这不是因为你自己的思维结构的改变，以及行为习惯的变化而变化的，而是命运一般的一种现实：从产生的源头开始，枯燥和无聊的痛苦，就注定不曾有过任何改变，直到生命终结的那一天。
你是一位著名记者，写戏剧评论和文
你是一位著名记者，写戏剧评论和文学评论，给大学学生讲授美学，你还写散文。
但你却如此阴郁
什么叫阴郁？
你不应该这么悲伤，这么向往！
你不应该等待，
这是关键。人不应该等待。
“不应该等待？”谁说我在等待？
所有人都在等待。比如我，我一生都在等待。这一生，我感觉，就在火车站内等待着。仿佛我经历的人生不是真实的，而是漫长的等待。等待某种真实。
等待是忍受的一种常态。这就像《等待戈多》所揭示出来的生命终极命题，你所梦想的任何事情、那些诱惑的希望，外在靓丽的预约，做爱后的身体等，所共同推动的那种生命状态，永远也不会到来。而我们的生活却永远笼罩在“等待”的玻璃面罩之中，失去所有的主动权，进而被这种理想状态的生活目标，折磨的精疲力竭。
B
幸福生活所谓何物
“看透时空，预知未来是一种可怕的天赋，
注定要为自己的使命饱受痛苦。”
亚历山大的生日庆典，是对于一生的经验总结。作为一个典型的上帝的选民，坦诚罪恶的一生。当然，并没有任何人是无辜的，哪怕世界上最为神圣的人也是如此。
以前的人生，对于当下来说，也何尝不是一种原罪。玩弄过的激情，强烈与温柔；玩弄过的情感，分手与伤心；玩弄过的怎样用尽一切办法来展现自己诱惑的外表。哪怕是为了充实自己的思想，以及人生的维度，来进行行为和语言的设想。为了表达思想，将生命变成一种情感符号。
但是这一切的一切，都是不在场的空。
冷漠吞噬了行为的终极意义；疏离让外表成为一种虚无······
无论从哪个层面进行分析，亚历山大的一生也就是我们每个人所必须经历的一生，一种从内到外，双重性质失败的一生。这种失败是想要往更加深刻的人生进行超越的失败，是试图对于当下的枯燥与乏味进行彻底的翻转的失败。
当你决定，让另一个人料理你的生活，预测你的生活，决定你的生活，满足你的生活的时候，就已经注定了遁入类似的空无。
在亚历山大海边的房子里，他有一段与作为医生的大儿子之间的对话：
睁开眼，阳和你都在～
睁开眼，阳光和你都在～
睁开眼，阳光和你都在～
睁开眼，阳光和你都在～
你不觉得你的人生很失败？
你不觉得你的人生很失败么？
不，为什么？
以前我也这么想，但是自从儿子出生，
一切都变了。随着他的成长，
我非常依恋他。但我也有困惑，
我想过一种更高级的生活，
我学了哲学，宗教、历史、美学，
结果却把自己关进了牢笼，还是自愿的。
但同时我很快乐，就像今天。
这种生活形态，延续了几千年的社会结构，都基于一个同样的原则：人们互相依靠，凭借彼此的力量减轻生活的奴役，从而实现真正的自由。
不再把指针指向自我的生活哲学，究竟是一种怎样的语言方式：
人们会随之不再妄想自身，甚至将自己的生命目的当做子女或者他人的礼仪、生存、爱情、方法论等培训的媒介。
这是一种无形状态中的掠夺和施虐。
我记得在日剧《代笔作家》中中谷美纪为了反抗母亲的操控欲望，努力的为自己的生命做出决定。唯独挣脱，才能够获取生命中的精华，无论你采取什么样的生活方式。
但是这并不是真理本身，这只是获取真理的一种捷径。
那么，采用一种生活方式去挣脱以后会怎样？
在《牺牲》中，塔可夫斯基安排了玛利亚这个女性，来让亚历山大拯救灵魂。为了拯救他生活当中朝向地狱一般寒冷的一面。
深深的情欲与性的自我解救方式，最终带领我们走向的依然是一个越来越远的方向，直到对于活着的评判只能成为虚构的幻觉。所有的感悟和思考都会埋葬在对于幸福的希冀和歇斯底里当中。
C
距离
“她有多在乎别人，急于肯定自己的力量和攻击本能就有多强。
她无从洞悉真理，因而理解不了别人的世界。
但即便她看到了那个世界，她也不愿而且不能进入。”
爱是一种冷暴力。
当你爱上某个人，你会忘记那些陌生的身体，你会克服在你面前的这个人。当这种专一性以及冷暴力性质的自我封杀的情感，开始将自我臆想的各种可能性全部杀死，存储在一个狭小的维度，那么一次一夜情或一段激情韵事，只能算是漫长的渴望爱的虚荣的人生中的插曲。你绝对不会忘记一次真正的相遇，一见钟情就是一种暴力的行动。
阿德莱德的疯狂和专断，讥讽与嘲笑不断的去折磨着亚历山大以及每一个人，她精神上彻底的虚空与亚历山大的忧郁和敏感形成了强大的对抗力量。低贱与崇高究竟能够怎样在同样的空间进行共存？
愚笨的人完全按照“快乐——不快乐”的规则去鉴定，而智慧的生命总是按照理性的入世经验与精神的饥饿感，去达到优美与崇高的生命。
睁开眼，阳和你都在～
睁开眼，阳
我现在明白了，我根本不愿依靠任何人。
相爱的两个人，爱的并不一样，
一个是弱者，一个是强者。
弱者总是爱的不顾一切，毫无保留。
现在我感觉像是从一个梦中醒来，
经历了另一种人生。
不知为什么，我总是在抵抗，在斗争，
在保护自己，仿佛我体内有一个人在说，
不要屈服，不要赞同任何事，否则会死。
无论是谁一旦与某种自我主张的，个性主义的生命哲学相关联，就会在不知不觉之间变成这个世界的对立物，变成了他人纯粹的恶的无止境场域。
精神的空虚使得阿德莱德对待亚历山大，正如一颗每时每刻都面临爆发的恐惧的原子弹。同样也是她的偏执与强势，以一种生活受害者的特权，用所有的行为去导致亚历山大最后的悲剧。
所有自称是高尚的美丽的灵魂背后，都会事先建构起属于个人的自我的社会现实，似乎只有这样，她才能够完全承受的住生活施加在她身上的一切。
但是在这种受生活的苦难的被动行为同时，她在向外扩散自己的罪恶与阴邪。
6 ) SIFF2016. Day 1. 牺牲 @UME新天地
第一天早上《安德烈•卢布廖夫》下午《牺牲》，塔可夫斯基的早期作品和遗作。和看完《乡愁》时一样难以言表的感受。就影片的气质来说，《牺牲》与《乡愁》无疑更为接近，这大概也是今天的两部中更喜欢《牺牲》的原因。
放映的开头十多分钟字幕员姐姐一直没有调整好状态，导致我前十多分钟一直痛苦地和自己的英语速读能力和词汇量作斗争。好在后来正常了一些之后并无大碍。
与《乡愁》类似，《牺牲》的故事被繁复的台词和冷涩的长镜头悬置起来。这样的个人风格总是让我疑心，能看懂塔可夫斯基的人，要么是诗人，要么是哲学家，要么是诗人和哲学家的交集——疯子。所以影片诗人的部分，有人在捕捉；哲学的部分，有人在沉睡；疯子的部分，有人在嘲笑。
塔可夫斯基先有了《牺牲》的构想，接着拍摄了乡愁，最后拍出了和原先的构想截然不同的《牺牲》，他原先的构想暂不揣测，但两个故事的内在逻辑承接性却是毋庸置疑的。
亚历山大和儿子种下了那棵枯树，枯树在消失了一整部影片后在最后回到视野之中，和给老塔孩子的"宽慰与希望"一起作结。枯树死寂的意象颇似鲁迅短篇里蜿蜒游过的蛇。同样代表着恶的毁灭中的重生背后，塔可夫斯基相比鲁迅的最大不同大概就是这种环绕型的救赎中浓厚的宗教色彩。第三次世界大战爆发的消息传来，亚历山大的精神国度战栗后垮塌，最终在上帝的先知神意"邮递"之下寻找"圣交"的解决，"应验"之后他发了疯，烧了房子，在水滩里跌倒，钻进救护车又逃出来拥抱......
虔敬靠表白和牺牲来证明，毁灭又报答信仰，成为最后的牺牲。在哲学失去一切解开人的未完成性的可能之后，神再一次成为最终文明接续的咬合。《乡愁》里的一支蜡烛在《牺牲》中烧成了一整幢小屋的浓烟和烈焰。就像鲁迅笔下"孽风毒焰"下匍匐的苍白的新希望。
而所谓的希望是否只是意味着鼓励下一代的人继续着上一代重复的轮回?
潜行的蛇可以头尾相连形成无尽的圆，枯木假如会重新萌发是否也终将再次干涸，人类也总是重复着往日的悲辛和自嘲般的慰藉与期许。这种环形的意象在亚历山大穿的道服上再明显不过。太初有一，而道潜行天地，人类再兜兜转转都不得不回到“一”中。而另一个悲哀暗示则是亚历山大对自己和儿子“日本人”的自况，日本的“物哀”观与本片表达的思想显然也是可以契合的。因为自然和命运不可抗拒，所以人的一切挣扎都显得如此多余。
对老塔还没有什么了解，只是掺入了过多的个人理解之后，信仰和牺牲的价值本身也在被重新悬置而后言说。最终，文明会否咬断自己的咽喉重新演绎，这样的矛盾大概是老塔最根源的乡愁和牺牲的悯然吧。
以及这大概是我所看的仅有的不到两百部长片里的最佳了。
放映的开头十多分钟字幕员姐姐一直没有调整好状态，导致我前十多分钟一直痛苦地和自己的英语速读能力和词汇量作斗争。好在后来正常了一些之后并无大碍。
与《乡愁》类似，《牺牲》的故事被繁复的台词和冷涩的长镜头悬置起来。这样的个人风格总是让我疑心，能看懂塔可夫斯基的人，要么是诗人，要么是哲学家，要么是诗人和哲学家的交集——疯子。所以影片诗人的部分，有人在捕捉；哲学的部分，有人在沉睡；疯子的部分，有人在嘲笑。
塔可夫斯基先有了《牺牲》的构想，接着拍摄了乡愁，最后拍出了和原先的构想截然不同的《牺牲》，他原先的构想暂不揣测，但两个故事的内在逻辑承接性却是毋庸置疑的。
亚历山大和儿子种下了那棵枯树，枯树在消失了一整部影片后在最后回到视野之中，和给老塔孩子的"宽慰与希望"一起作结。枯树死寂的意象颇似鲁迅短篇里蜿蜒游过的蛇。同样代表着恶的毁灭中的重生背后，塔可夫斯基相比鲁迅的最大不同大概就是这种环绕型的救赎中浓厚的宗教色彩。第三次世界大战爆发的消息传来，亚历山大的精神国度战栗后垮塌，最终在上帝的先知神意"邮递"之下寻找"圣交"的解决，"应验"之后他发了疯，烧了房子，在水滩里跌倒，钻进救护车又逃出来拥抱......
虔敬靠表白和牺牲来证明，毁灭又报答信仰，成为最后的牺牲。在哲学失去一切解开人的未完成性的可能之后，神再一次成为最终文明接续的咬合。《乡愁》里的一支蜡烛在《牺牲》中烧成了一整幢小屋的浓烟和烈焰。就像鲁迅笔下"孽风毒焰"下匍匐的苍白的新希望。
而所谓的希望是否只是意味着鼓励下一代的人继续着上一代重复的轮回?
潜行的蛇可以头尾相连形成无尽的圆，枯木假如会重新萌发是否也终将再次干涸，人类也总是重复着往日的悲辛和自嘲般的慰藉与期许。这种环形的意象在亚历山大穿的道服上再明显不过。太初有一，而道潜行天地，人类再兜兜转转都不得不回到“一”中。而另一个悲哀暗示则是亚历山大对自己和儿子“日本人”的自况，日本的“物哀”观与本片表达的思想显然也是可以契合的。因为自然和命运不可抗拒，所以人的一切挣扎都显得如此多余。
对老塔还没有什么了解，只是掺入了过多的个人理解之后，信仰和牺牲的价值本身也在被重新悬置而后言说。最终，文明会否咬断自己的咽喉重新演绎，这样的矛盾大概是老塔最根源的乡愁和牺牲的悯然吧。
以及这大概是我所看的仅有的不到两百部长片里的最佳了。
这是创造者的末日情节，也是哲学论文——尼采式的绝望，自由意志的沉沦（日本、澳洲都像是逃走和示弱），语言学转向。最惊人的还是他用这么高的强度坚持自己认为必要的艺术形式，神圣的戏剧感，就像结尾用椅子搭出的积木，和大火。这是创造者的自由，是他给出的希望和安慰，像宗教和酒一样。
完全颠覆了对老塔的认知，前所未有的死亡/末日/恐惧三位一体的诡谲气息不断涌现，幻境的折磨与现实的灾难交织，却最终归于平静，在冲天的火光与属于东方的哲学思想里完成牺牲与新生，以语言的回归作为仪式般的神迹在绝望中给予世人最大的希望；预感到自己即将离开人世的老塔在这部遗作中把自己全部的能量迸发了出来，他就像是一个被人类抛弃的上帝，无比失望后依旧愿意将自己最后的爱给予世间，在喃喃自语中离开世界，电影之神最终“牺牲”了
其实老塔要说的话很简单，我们这个世界，不能更好么？
看完《伊万的童年》再看《牺牲》，一首一尾。在5K的Mac上看19G的蓝光版画质太好，加一星。“万物起始就有了语言，而你却沉默得像条鱼。”搜集事件的收藏家-邮差。
为了生命，他必须牺牲，那怕是选择死亡。为了希望，他必须绝望。亚力山大在死中才看到了生，就像那棵树苗，只有在大地的气味中才能触目天空的临在。而亚力山大那怕是这般绝望，却也是热泪盈眶的。
自我指涉：亚历山大末世之举和身体/精神状况；凝视待长成的儿子/后代和枯（新）木，意在献给其子；评论家身份、达芬奇画作加上地图探讨艺术之问题。自我警戒：面对（自我/世界）末世，吾将以吾身为牺牲，不论寓所或其他；女性/母体是人类归宿：旋转交媾/妻子崩溃姿势/女儿裸身逐雄鸡；水为万物之始终。
找到一个《牺牲》的新版本，字幕好多了，于是又看了一遍，终于理解了整个剧情。我愿意把中间那段核战争的情节理解成一场可怕的梦。仍然有缓缓移动的长镜头、若有若无的声源不明的声音，比前面几部片子少了一些诗意，多了一些舞台剧式的场面调度。与《乡愁》一样，这部片子充满了老塔的宗教情结和终极关怀。
只说我看懂的部分：回归童年，舍弃自我，展现神迹；用戏剧式极简表演解构复杂剧本；延树木伸展方向上摇与俯瞰大地和微缩房舍的对比镜头；由自言自语、思辨，直到放弃语言；标志性横摇中保持平衡构图，甚至成为半环形运镜；结尾长镜头和所有镜像的运用都太牛逼，远远超越其他导演。影调纯净，音效完美。
我们寻找朋友，爱人，母亲，故乡，在陌生的人群中享受关注，喜欢，收藏，分享。这是你们的浪漫快乐悲伤失落，我们的疯癫文明野蛮狂欢。“回你的文明段落里，回你说过的话语里，回你的家吧！”然后烧了你的房子来上帝这儿吧。
1986年戛纳评审团大奖，老塔的遗作。迷你房模似『乡愁』，浮空性爱同『潜行者』，屋子着火后的长镜头令人震撼，老塔在黑白和彩色之间频繁切换，阴暗房间中的众人寂静如画，浅谈着不合常规的往事，清冷的环境描写营造出了有如末世到来般的绝望。他是疯子，是真正的诗人。｜结尾树升镜头与『伊万的童年』构成生命/创作循环。
正是观看《牺牲》的节点，电影里塔可夫斯基愿献祭自己的一切重启那战争四起的世界挽留人类，但就现在来看某些地方的人类所建立的文明、信仰和秩序就是垃圾，哪怕那些平凡的英雄牺牲自己的一切乃至生命也重启不了那瘟疫肆虐却依然光辉灿烂的糟烂世界。
亞歷山大比《鄉愁》裡的多米尼克還要自私。儘管電影的長鏡頭和場面調度力量十足，但是電影流於一個在末日為引子之下的精神自白過程。這讓人感到冗長和吃不消。自老塔被逐出蘇聯之後，兩部長片失去的似乎不僅僅是曾經賴于電影生存的母語。這樣的放逐只為老塔帶來虛假的自由和更多不必要的思考。
老塔最奇巧复杂的一部片子，充满了祷告与爱，在我们因孤独而回避生命中的一切奇迹的时候，圣灵的风吹起，让我们苏醒与复活，我们终有一天会成为一棵枝繁叶茂的花树，到那日来时，求那火烧尽囚禁灵魂的错视空间，让我们紧紧拥抱，再不分开。
再看《牺牲》。死亡气息（完成此片后不久塔去世），宗教救赎隐喻（达芬奇画《贤士来朝》、玛利亚与羔羊）。戏剧色彩，母亲歇斯底里；突发暴力瞬间。用滤镜，压抑或漂白颜色，几近黑白。开篇九分多钟长镜头，全片115个镜头。声音果然很引人注意。用巴赫《马太受难曲》。在伯格曼所居法罗岛附近拍摄。
有时候重获希望只能将现有的一切付之一（二）炬。影片透露着绝望的窒息，片尾却是塔可夫斯基“把希望献给孩子”，像被他突然点醒一般
“一棵孤单的树 / 连它的影子也会背弃它 // 除非有一个孩子每天提着一桶 / 比他本身还要重的水来 // 除非它生根于 / 泪水的播种期”——王家新《塔可夫斯基的树》
符号繁多，语言晦涩，但主题并不难懂，特别是当你对基督教的拯救和末世论有所了解的时候。我们可以把《乡愁》看作是彷徨和求索，而把《牺牲》看作是坚定地回答。这部电影完成半年之后，塔可夫斯基就去世了。
老塔的天鹅之歌是他的时空美学和伯格曼形式的奇怪结合体。他的长镜头调度依然美呆，然而伯格曼深邃的象征主义他却没有手拿把攥，于是影片里出现的各个符号都太过直接。我们都能感到他临终对于人类命运的关怀，也理解他一定要留下什么的抒发欲望。然而这些过于确切的意象总是跳出来扰乱影片冥想的气氛。
@新华，画质太差，没有睡去是最大的胜利。全片笼罩着世界末日般的压抑。死亡与新生。塔可夫斯基生命的挽歌，天鹅的绝唱，仍然是一位艺术家对自身与世界发出的疑问。只有塔可夫斯基的电影才配得上巴赫的音乐，伯格曼还差点。
老塔遗作，1986戛纳评审团大奖。1.绝望,祈祷,信念,献祭,牺牲,希望。2.影调和色彩变换,灰暗阴冷的画面散发如临深渊的末世气息。3.微缩房舍同[乡愁],神迹展露(浮空圣交)似[潜行者]。4.老宅燃火的长镜惊为天人！5.结尾希望之树,想及[雾中风景]。6.由伯格曼班底资助拍摄。7.独白话唠后接戏剧化。（9.5/10）