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| Stalker/Distant |
Look...I love these Tarkovsky comparisons (I love all good movie comparisons for that matter). But at a certain point it’s easy to take an image of a horse or a guy standing in a field of weeds and compare them to another similar image of a horse or a guy standing in a field of weeds (especially within arthouse cinema).
In this latest edition of The School Of Tarkovsky we’re going to concentrate on the influence Andrei Tarkovsky had on one specific filmmaker in the form of Nuri Bilge Ceylan. Putting aside the fact that both filmmakers have a similar slow meditative approach, there are certain particular moments, scenes & shots in just about every Ceylan film that could be interpreted as a (subconscious) nod or (intentional) homage to Andrei Tarkovsky.
It seems like the more popular movie comparisons have become the more pushback they receive by cynics & skeptics (like
some of the simple-minded folks in the confessions of a cinephile group on facebook). This is understandable in my book so instead of one or two vague references that could be drawn between any two films, we’re going to narrow things down a bit (if you
still have doubts about the similarities between Tarkovsky & Ceylan or Tarkovsky’s all around influence after reading
this then I don’t know what to tell you).
Enjoy…
TARKOVSKY (LEFT) / CEYLAN (RIGHT)
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| Andrei Rublev/Winter Sleep |
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| The Mirror/Distant |
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| Nostalghia/Once Upon A Time In Anatolia |
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| Solaris/Once Upon A Time In Anatolia |
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| Sacrifice/Small Town |
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| Solaris/Once Upon A Time In Anatolia |
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| Stalker/Photo taken by Ceylan |
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| The Mirror/Once Upon A Time In Anatolia |
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| The Mirror/Three Moneys |
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| Stalker/Small Town |
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| Stalker/Distant |
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| Solaris/photo taken by Ceylan |
