在 1960 年代，一艘苏联宇宙飞船坠毁，宇航员于 2023 年在莫斯科醒来。

讲述乐队成立及其成员之间关系的同时，事件在一个幻想世界中展开，戈尔肖克和王子开始从巫师的囚禁中拯救一位公主。一路上，他们遇到了他们在歌曲中唱到的人物。@游目骋观影

1994年, Sokurov随俄军被分配到塔吉克斯坦和阿富汗交界处的边境军用岗进行实地拍摄。虽然1989年俄军从阿富汗战争中撤出，但仍然有隐蔽的敌人在边境尾 随。当不知名的武装部落偶尔与俄军发生小规模冲突时，Sokurov的拍摄记录了冲突的间歇,让人感到十分困扰。他有力地捕捉了俄军被孤立时的情景，部队 被折磨得无力的心情，以及严酷的环境。如诗般却又伴随着哀怨。此系列记录片被分为五集。

“Simple Elegy” is simple in form — also, probably, is it simple in content. It is compiled from documentary footage shot in 1990 when Russia imposed an economic blockade on Lithuania. We filmed in the building which houses the Supreme Council of Lithuania and in the streets of Vilnius. There are two protagonists in the film, the People and the Chief of State: the Lithuanians and Mr. Vitautas Landsbergis. This new leader of the Lithuanian state is an attractive figure. Landsbergis is an historian of culture and music. He received a classical education. Perhaps every state should seek to have such a person of education at its head. Yet we who made this film did not have any political intentions, only, quite naturally, artistic ones… It is important to note that “Simply Elegy” is a film in the “Elegy” series.
Alexander Sokurov (from the author's summary)
The office of the President of Lithuania, 1990. Inside, silence reigns, contrasting to the shouting of the crowds outside the windows of the governmental building. At the same time, this silence is mirrored by the intense silence of several women, whose faces remain on the screen for a long time. The silence is broken by music. The President plays the piano — the Nocturnes, composed by his famous compatriot, Ciurlionis. The President, musician and politician, has plunged himself into deep mediation (recalling aspects of “Soviet Elegy”) — a kind of phenomena of our times, something that Sokurov searches for and hopes to capture: something that remains and can still be rescued.

Специальный выпуск ленинградской кинохроники Сокуров сделал оперативно, получив материал из Краснодара, где оператор снял митинг протеста матерей призванных в российскую армию ребят, направляемых в зоны межкавказских конфликтов. Вся лента — персональное кинематографическое воззвание режиссера к президенту Горбачеву и к власти, смысл этого воззвания распространяется не только на данный конкретный факт социального конфликта.
Одна из важнейших для Сокурова исторических тем: невозможно безнаказанно вклиниваться в дела других народов, быть буфером национальных распрей — здесь потребовала не эстетического контекста, но прямой гражданской речи. Краснодарские кадры, смонтированные с изображением самого Сокурова на фоне петербургского вьюжного пейзажа, — это гражданский автопортрет режиссера на фоне отечественного неблагополучия, взрывы которого еще впереди, и долг художника о них предупредить.

Rencontre avec le cinéaste russe Alexandre Sokurov.
Au cœur de sa salle de montage, sur un quai du port de Saint-Petersbourg, Alexandre Sokurov parle de sa démarche de créateur, des problématiques qui le questionnent. Depuis l’élégie, la parentalité, la compassion, et autres thématiques personnelles, le cinéaste touche l’essentiel : la vie, la mort, le bien, le mal, l’histoire, tant au cœur d’une action choisie que subie. C’est aussi une réflexion éthique d’une traversée du cinéma qui s’interroge sur les puissances de l’image et du son, sur le cinéma en tant qu’art, aujourd’hui et demain.

Elderly Aleksandra visits her Russian soldier grandson, Denis, at the Chechen war front, providing comfort as she tours his army. All the while, Denis ponders the reason for her unexpected appearance.

A 1988 documentary film directed by Alexander Sokurov, about the later life and death of Soviet Russian filmmaker Andrei Tarkovsky. The film was originally intended to mark the 50th birthday of Tarkovsky in 1982, which would have been before his death. Controversy with Soviet authorities about the film's style and content led to significant delays in the production.

This wonderful visual poem unites many of Sokurov's best traits. Like most of his films, it is less about plot than the unfolding of a specific situation. Here, an observer who merely appears as a silhouette (though it seems to be Sokurov) travels to an old Japanese town on an island. It is an unearthly place, almost empty, old buildings, mist, probably the afterlife. The observer talks to three souls about their former lives which they see as burdensome and unhappy; but they talk in a light-hearted manner. There is a nocturnal feel to everything, the images have a washed-out quality, like varnished old paintings, and Sokurov deliberately keeps them sometimes out of focus (all trademarks of his); the soundtrack is a marvelous composition of gently howling wind, creaking wood and remote music, some classical, some Russian and Japanese folk. The entire movie is a dreamlike reflection on life and death and the view of the dead upon the living. Absolutely recommended for all who like Sokurov and Eastern European poetic film. (IMDB)

以《創世紀》、《浮士德》等作品技驚國際影壇的俄羅斯名導亞歷山大蘇古諾夫，於蘇聯片廠時期即投入影像創作，雖獲一代宗師塔可夫斯基的青睞與推薦，其宏觀獨到的歷史視角與政治觀點，及前衛的藝術技法，仍使他遲至八○年代才真正突破國家機器及片廠文化的桎梏，進入國際影壇的視野之中。

回首近半世紀的堅持與衝撞，蘇古諾夫於本片親身講述其藝術創作與哲思發展的完整歷程，與導演精心蒐羅剪輯的珍貴拷貝片段展開世紀對話，不僅帶領影迷一窺蘇古諾夫電影藝術的來龍去脈，更具體而微地揭露了俄羅斯五十年來動盪歷史的絕代風華。

「電影不值得用一生交換，為了對電影的熱情而浪擲一生絕對是個錯誤。但那是個值得浪擲一生的錯誤。」──亞歷山大蘇古諾夫

“It is a film from an extended series. It is hard to say who is the main character of “The Soviet Elegy.” There are more than a hundred faces of our compatriots. But, of course, it is not by chance that it is the destiny of a famous political figure, Boris Nikolayevitch Yeltsin, that bears a special accent in the film. Though he got to power following quite typical ways, his uncommon character puts him out of the ordinary, and in the author’s opinion it may be determined by his uncommon human nature. Our hero exists within the tragic pattern of the soviet socialist life. He is a character of a drama, of which he is one of the authors. “The Soviet Elegy” can hardly be called a documentary film in the proper sense. Of course, the author guarantees the accuracy of chronology, but he insists on an artistic mode of thinking, not on a political or historical investigation.”

简介：這是一段由導演的思想、文字，與畫面、聲音共同碰撞激盪的旅程，在流暢中持著嚴謹的態度，充滿想像卻真切萬分。從落葉凋零到雲靄變色，從霧中風景到冰天雪地；望彌撒的虔誠、孩童受洗的認真、若有所思的傳教士、滔滔不絕的咖啡店男子……，跟隨著鏡頭的轉換，導演帶領我們冷眼旁觀、深談淺論。片尾一段在荷蘭鹿特丹博物館的眾多畫作間輕靈跳躍的戲碼，可說是《創世紀》的前身，亦是蘇古諾夫對藝術美學完美追求的呈現。

1994 film by Alexander Sokurov

The Dialogues with Solzhenitsyn is a two-part Russian television documentary by Russian filmmaker Alexander Sokurov on Aleksandr Solzhenitsyn. The documentary shot in Solzhenitsyn’s home shows his everyday life and covers his reflections on Russian history and literature.

2015 film directed by Alexander Sokurov