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Your Daily Tarkovsky
Day #61
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[The Mirror] (1974)
Directed by Andrei Tarkovsky
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The Daily Tarkovsky returns, showcasing inspirational and awe-inspiring images from Andrei Tarkovsky’s seven feature films. One shot, each day, forevermore ♾
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#themirror #andreitarkovsky #tarkovsky #film #movies #foreignfilm #worldcinema #instamovies #filmart #art #instacinema #cinephile #photography #cinephilecommunity #instamovies #filmisnotdead #filmcommunity #filmbuff #moviebuff #moviejunkie #arthouse #nature #surrealism #instaart #colorpalette #movienight #filmphotography #cinematography #cinematic_imagery
[Movie Review] A White, White Day (2019) #KataKinema #KatKinCannes (swipe the pic for a brief review in Bahasa)
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Review by: Dysan Aufar [DA]
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Hlynur Pálmason, the Icelandic director whom first feature film 'Winter Brothers' has succeeded in capturing many notable awards, comes back with a new film 'A White, White Day'. The title itself is actually referring to a natural occurrence where the streets are so white because there are no clear boundaries between the skies and whatever lays below it as the whole panorama is covered with thick, unsettling mist. The movie tries to utilize such aforementioned event as a philosophical medium to describe the enigma behind the film's titular character's struggle in dealing with stages of grief. At the beginning of the story, the narrative presents us with a statement coming from the land of Iceland itself saying the dead are capable of conversing with those who are still alive when a 'white, white day' ensues.
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Subsequently, it seizes us to behold a sight of a life-ending sequence where a driver who is driving down the road, trying to go through what seems to be a zero visibility condition. Not long after, the car follows a wrongful turn and goes straight down into the unforgiving depth of a sea. Later on, it is revealed that the driver is a wife to Ingimundur (Ingvar E. Sigurðsson), an out of service local police chief. He's currently living in a dilapidated farmhouse and as a way to cope with his unbearable inner wound, he resorts to serving the house a favor by slowly repairing it even though he admits to his adviser that he doesn't want to repair the home. While it might depict a cliche metaphor where Ingimundur would slowly heal himself by restoring the house, it still is exciting to see because as the movie goes on you'll notice that the narrative intention is not to cause us the audience to empathize with him but to understand his state of mind and the way he sees things from his perspective.
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