![]() “The same, eventually boring images keep recurring in film after film - shots of damp landscapes, marshes, hills in fog and abandoned buildings with roofs that leak,” Canby wrote when “Nostalghia” was screened at the 1983 New York Film Festival. He advised viewers to watch “Nostalghia” “as if it were the window in a train traveling through your life.” In The New York Times, the critic Vincent Canby allowed that while Tarkovsky might be a “film poet,” he was one with a limited vocabulary. Tarkovsky’s movies are not for the impatient. But much of his penultimate film, “Nostalghia” (1983), out on Blu-ray from Kino Classics, is pure meteorology, opening with a panoramic view of a granular mist rising from and rolling across a Tuscan landscape in a shot long enough for you to marvel at the artist’s seeming capacity to direct the weather. His best-known movies are the historical epic “Andrei Rublev” (1966) and the science-fiction spectacle “Solaris” (1972). The Russian director Andrei Tarkovsky (1932-86) was another maestro whose art is a matter of small sensations. Griffith made his reputation with blockbusters like “The Birth of a Nation” and “Intolerance,” but in the end, his sense of the medium was founded on the sense of physical reality that the first motion pictures afforded. Griffith told The American Mercury, not long before he died in 1948. “What’s missing from movies nowadays is the beauty of the moving wind in the trees,” D. ![]()
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