A vast poetic, the innumerable and inexhaustible reading levels, driven by work on the image and its own hallucinations. "Days of Eclipse (or" The day of the eclipse, "according to translations) is a film-world. The criticism could stop there, by abdicating the face of this senseless task: trying to rewrite and to the reader what can be perceived as the only means of this beyond what the meaning of poetry. However, without going into detail analysis of the film (to be done overnight, but impossible après une seule vision – à quand une édition DVD ?!?), je peux sans risque avancer quelques remarques générales sur cette œuvre. Libre adaptation d’une nouvelle des frères Strougatski, les maîtres de la science-fiction russe, «Journées d’éclipse» ne peut cependant pas être qualifié de film de science-fiction. La toute dernière séquence peut éventuellement, si cela lui plaît, orienter le spectateur vers une relecture fantastique du film : dans un plan sensationnel (qui n’est pas sans rappeler l’ultime plan de «Solaris»), Sokourov fait disparaître le lieu du drame, ce village turkmène emboîté dans the mountain. Was it ultimately a mirage? It would then perhaps reconsider the level of reality of what we have seen, and impossible to decipher in a work of interpretation (not in terms of objectivity, because this interpretation can be personal) the significance of many appearances of strange that dot the film: a conversation with a dead body moving like an animal, strange creatures that are preserved in jelly, etc. ... It should also consider the many allusions to the collapse of communism in the republics Soviet, fear of repression, the disquieting atmosphere of muted violence and diffuse threats. It certainly succeed in building something roughly consistent. But this is not the essence of the film. Most commentators saw it as a metaphor for the impossible freedom and the annihilation of all creativity in the framework of a totalitarian system. This reading is in my view simplistic and relies only on some of the evocations that causes the vision of the film. "Days of Eclipse" is a work that is lived and felt more than it becomes intellectualized, a work in which he must lose, let go, getting carried away by the dazzling poetic impressions that invade each plan. Visually, the proposed show is a dazzling beauty of each moment, Sokurov doing work properly crazy about light and color. The use of color reminds us of the "Element of Crime" Von Trier, made 4 years ago, but the comparison stops there, the Apocalypse sokourovienne having a density and depth of meaning absent from the Danish film. We are also surprised, when you know Sokurov, the nervousness of the camera, vivid and moving, which prevents the film from succumbing to lethargy contemplative, and maintains a real dramatic tension. The richness of sound work, with a very pertinent use of sound and voice-overs, is breathtaking ... You will understand, "Days of Eclipse" is a masterpiece, probably the greatest film that Russian cinema we have offered since the demise of Tarkovsky. [4 / 4]
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