In Skazka, Alexander Sokurov weaves digital magic to create a phantasmagorical visi@奇米影@on of the Afterlife, worthy of Dante. But wait: are we in the limbo of Purgatory, or a paradoxical Paradise reserved for notorious men of world history? Mussolini, Stalin, Hitler, C@无限资源日本2019版免费@hurchill and more: all are present and accounted for. Since they exist only as archival media images, each figure comes in a serial set.
In the blackest of political comedies, these fallen men beg, in turn, to be let through Heaven’s Gate – but the angels who peek through never open wide. Little@2008qq@ wonder, as the former leaders wander listlessly, bitching (in a Babel of multiple languages) about each other’s clothes, hair and hygiene.
In what is effectiv@彩虹岛小草官网@ely a work of animation, Sokurov has pulled together many talents into an extraordinary technological feat. It blends pict@斗罗大陆宁荣荣篇破解版@orial elements from art history to form an endlessly unfolding landscape, replete with fog and ghostly armies of the sacrificed victims of history. Announced as Sokurov’s last film, Skazka is an inspired riff on the high culture of Peter Greenaway mixed with the low culture of mash-up artists Soda_Jerk. Can we now expect some entrepreneur to bring us the interactive Skazka video game?
