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nadiaDear Mr Zvyagintzev, I have read a month ago one of the truly great novels of all time "Anna Karennina" and after that i have watched all the movie versions that i found in the internet, it is such a pity that americans try to embody the russian soul, i was really disappointed. I beg you sir, if there is any chance could you make your own image of Anna Arkadievna, with the subtle rhythm and flavour of contemplation that your work has! thank you for the attention.
The scene with women working in the field at the end of Izgnanie really shifted the whole film for me onto the wider level. It reminded me of my grandmother who worked pregnant in the field until the day she gave birth to my aunt (my mother was born in the winter) and of one of the greatest qualities of women - sacrifices they are willing to make.
Thank you for your beautiful films and please don't give up the process of taking time to make careful and elaborate plans for filming new material because the work and the time invested is visible.
Greetings from Serbia,
via fChThe Return is a film to which I don't want to return, yet it stays with me.
Elena is in a class of its own. BTW, the first 2:52 minutes are the best set up for this Bach-like exercise in rhythm, or the perception of TIME.
laertesdear andrey, i am watching your movies over and over, and every time i find new aspects that make my watching experience a different again and again. not only is it a breathtaking aesthetical view on the outer world, but also a journey through man's inner world. i am looking forward to seeing more films by you in the future, and so do my friends who i made acquainted with your ouevre, too, and who are as fascinated as i am. best greetings and a big thank you from germany! yours gratefully laertes
SARO LAMAMy Dear Andrei,
Greetings from a small village guy living in india/chennai.
I have watched your movie "Banishment".literarly am watching again again.
The shots/scene composition and inner spiritual quality of the film is amazing.
Opening scene of the film remains me as a Meditation and recalls my inner concious Buthist silence.I do fail to express my feelings in to words.
Your images manuplated my dream state of mind.
Thank you so much.
The Films "Elena" and "The Return" DVD are waiting.
would watch your movies and come back soon.
Love you dear Andrei.
With Tonns of love,
AneeshAndrei, These are my impressions. Purely impressions. i recollect an instance from your 'the Banishment' Vera basks in the sunlight before she is killed, where she experiences the sunlight with the veracity of a child. it reminded me of an instance of great film making as described in "Sculpting in Time' as exemplified by Kurazava in the death of the character of Thorisho Mifune in Seven Samurai where his dead body is drenched in rain, and a scene in Bunuel's Nazarin. i could see a feather resting on the bed of the returned father in 'The Return', which i have seen in several of Tharkovsky's movies such as 'Nostalgia' and some weightless flying objects in the concluding scene of 'Stalker'. And though i can grasp that it adds to the gravity of the situation, the same feather is visible lying on a seashore in our guest book page photograph. I would like you to give me a response regarding its greater meanings.
AneeshAndrei, i was watching your films since i saw your debut 'The Return', and was enthralled by the pace of the film,which is in complete coordination with the demands of narration. It recalled me of an instance in Tarkovsky's 'Sculpting in Time' in which he, after making 'Ivan's Childhood' is describing a moment he started to sense cinema as if he is in a dark room and could feel the warmth of its presence somewhere near to him. He was precisely talking about the beginning of his journey as a film maker of his satisfaction, his way of narration and style, which is imminent in his later films. when i saw 'The Return' the impression that sustained in me was that, here is a director who found his film with his debut. Now, watching 'Elena', i feel that your talent seen in The Return and progression has been curtailed a little by your over emphasis over the momentum of the film.
peterAndrei, I purchased Elena in Kuta, Bali, Indonesia. Truly excellent film, the best I've seen in a very long time. Thank you for restoring my faith in modern cinema.
I had the privilege of watching Elena last night at Film Forum in NY. The film was great and it was very nice to hear you talk too.
Being a (beginning) filmmaker myself it's very inspiring to see your work... the tone, the pacing, the mise-en-scene, the perfect blending of style and content... I wanted to ask you about your directing process but the Q&A flew away and I as still too affected by the film to articulate anything coherent. So I'll write them here: do you storyboard?, how much of the camera movement comes from you and how much comes from your DP?, at what point did you decide you would shoot that fight scene hand held?, did you had Phillip Glass in mind while you were shooting, or was it a later decision?
Anyway, thank you for your work. And all the best for your future projects, Fede.
Ian Fowlerthank you