Offret

The part of Offret (The Sacrifice, Andrei Tarkovsky, 1986) that most affected me was its silence. The camera was still, and the space silent, for the majority of the film, so that when sounds intruded on the cineworld, I felt as discomforted by them as the characters were. As is illustrated by these two screenshots, Tarkovsky really values space in Offret, and is fascinated by the environment created by isolation. Clearly there is very little movement where these people live, besides that of the family themselves, so things occur at an ideal pace for us to become in tune with the environment.

This is why occurrences such as the woman having an attack (for what reason?) cause such an uncomfortable response with the spectator. And Viktor’s forceful silencing of her, although it seems definitely immoral somehow, is welcome. The return of formal peace is the most important thing in the world of Tarkovsky. And when Aleksander goes mad, it is as thoguh we can all be released. Our spirits are  no longer confined to this space and we can run about, or remain with a single tree, just as we please.

And the Swedish language is so, that no matter my tiredness, I couldn’t fall asleep. So lovely, like bubbles.

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About cinemelo

I love to write about film and comment on culture. Hopefully providing insight and interesting thoughts for fellow cultural itinerants.
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