terça-feira, 6 de dezembro de 2016

Problemas do realismo

Serge Daney, arguto como sempre,desvendando o subtexto político de Stalker: And what of these prematurely aged faces, these mini-Zones where grimaces have become wrinkles? And the self-effacing violence of those who wait to receive a beating (or maybe to give a beating if they haven't forgotten how?) And what of the false calm of the dangerous monomaniac and the empty reasonings of a man who is too solitary? These do not come only from Tarkovsky's imagination. They cannot be invented, they come from elsewhere. But from where? STALKER is a metaphysical fable, a course in courage, a lesson in faith, a reflexion on the end of time, a quest, whatever one wants. STALKER is also the film in which we come across, for the first time, bodies and faces which come from a place we know about only through hear-say. A place whose traces we thought the Soviet cinema had lost completely. This place is the Gulag. The Zone is also an archipelago. STALKER is also a realist film.

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