Many translated example sentences containing "mirror film" – German-English dictionary and search engine for German translations. Mirrors ein Film von Alexandre Aja mit Kiefer Sutherland, Paula Patton. Inhaltsangabe: Nach dem Tod seines Partners verliert Ben Carson. Mirrors (englisch für Spiegel) ist ein US-amerikanischer Horrorfilm aus dem Jahr Alexandre Aja führte Regie, die Hauptrolle wurde mit Kiefer Sutherland.
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Mirrors (englisch für Spiegel) ist ein US-amerikanischer Horrorfilm aus dem Jahr Alexandre Aja führte Regie, die Hauptrolle wurde mit Kiefer Sutherland. ↑ Natasha Synessios: Mirror. I. B. Tauris, London (KINOfiles Film Companion 6), S. ↑ Andrej Tarkowski: Die versiegelte Zeit. Gustav. Mirrors ist ein Remake des südkoreanischen Horrorfilms Into the Mirror. Kiefer Sutherland und seine Familie werden von böswilligen Geistern heimgesucht, die. Moviemans Kommentar zur DVD: Gute, aber nicht überragende Qualität für einen guten, aber ebenfalls nicht überragenden Horrorfilm. Bild: Das Bild macht einen. 23 Userkritiken zum Film Mirrors von Alexandre Aja mit Kiefer Sutherland, Paula Patton, Cameron Boyce - climatechangeproject.eu Mirrors ein Film von Alexandre Aja mit Kiefer Sutherland, Paula Patton. Inhaltsangabe: Nach dem Tod seines Partners verliert Ben Carson. Many translated example sentences containing "mirror film" – German-English dictionary and search engine for German translations.
↑ Natasha Synessios: Mirror. I. B. Tauris, London (KINOfiles Film Companion 6), S. ↑ Andrej Tarkowski: Die versiegelte Zeit. Gustav. 23 Userkritiken zum Film Mirrors von Alexandre Aja mit Kiefer Sutherland, Paula Patton, Cameron Boyce - climatechangeproject.eu Mirrors (englisch für Spiegel) ist ein US-amerikanischer Horrorfilm aus dem Jahr Alexandre Aja führte Regie, die Hauptrolle wurde mit Kiefer Sutherland.
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Back to top. Get to Know Us. Amazon Payment Products. English Choose a language for shopping. Amazon Music Stream millions of songs. It is loosely autobiographical, unconventionally structured, and incorporates poems composed and read by the director's father, Arseny Tarkovsky.
Innokenty Smoktunovsky provides voiceover and Eduard Artemyev the incidental music and sound effects. Mirror is structured in the form of a nonlinear narrative , with its main concept dating back to and undergoing multiple scripted versions by Tarkovsky and Aleksandr Misharin.
It unfolds around memories recalled by a dying poet of key moments in his life and in Soviet culture. The film combines contemporary scenes with childhood memories, dreams, and newsreel footage.
Its cinematography slips between color, black-and-white, and sepia. The film's loose flow of visually oneiric images has been compared with the stream of consciousness technique in modernist literature.
Mirror initially polarized critics and audiences, with many considering its narrative to be incomprehensible. Mirror depicts the thoughts, emotions and memories of Alexei, or Alyosha Ignat Daniltsev , and the world around him as a child, adolescent, and forty-year-old.
The adult Alexei is only briefly glimpsed, but is present as a voice-over in some scenes including substantial dialogue.
The structure of the film is discontinuous and nonchronological, without a conventional plot, and combines incidents, dreams and memories along with some news-reel footage.
Mirror draws heavily on Tarkovsky's own childhood. Memories such as the evacuation from Moscow to the countryside during the war, a withdrawn father and his own mother, who actually worked as a proof-reader at a printing press, featured prominently.
The film opens with Alexei's adolescent son Ignat also played by Ignat Daniltsev switching on a television and watching the examination of a stammerer by a physician who finally manages to make her patient say without disruptions: "I can talk".
After the opening titles roll, a scene is set in the countryside during prewar times in which Alexei's mother Maria Margarita Terekhova — also called Masha and Marusya — talks with a doctor Anatoly Solonitsyn who chances to be passing by.
The exterior and interior of Alexei's grandfather's country house are seen. The young Alexei, his mother and sister watch as the family barn burns down.
In a dream sequence Maria is washing her hair. Now in the postwar time-frame, Alexei is heard talking with his mother Maria on the phone while rooms of an apartment are seen.
Switching back to the prewar time-frame, Maria is seen rushing frantically to her work-place as a proof-reader at a printing press. She is worrying about a mistake she may have overlooked, but is comforted by her colleague Liza Alla Demidova , who then abruptly reduces her to tears with withering criticism.
Back in postwar time, Alexei quarrels with his ex-wife, Natalia also played by Margarita Terekhova , who has divorced him and is living with their son Ignat.
This is followed by news-reel scenes from the Spanish Civil War and of a balloon ascent in the U. In the next scene, set in Alexei's apartment, Ignat meets with a strange woman Tamara Ogorodnikova sitting at a table.
At her request, Ignat reads a passage from a letter by Pushkin and receives a telephone call from his father Alexei. The strange woman vanishes mysteriously.
Switching to war-time, the adolescent Alexei is seen undergoing rifle training with a dour instructor, intercut with news-reel footage of World War II and the Sino-Soviet border conflict.
The reunion of Alexei and his sister with their father Oleg Yankovsky at war's end is shown. The film then returns to the quarrel between Alexei and his wife Natalia in the postwar sequence.
Switching again to prewar time, vistas of the country house and surrounding countryside are followed by a dreamlike sequence showing a levitating Maria.
The film then moves to the postwar time, showing Alexei apparently on his death-bed with a mysterious malady.
The final scene plays in the prewar time-frame, showing a pregnant mother, Maria, intercut with scenes showing Maria young and old.
Old Maria is played by Tarkovsky's own mother, Maria Vishnyakova. The concept of Mirror dates as far back as , when Tarkovsky wrote down his idea for a film about the dreams and memories of a man, though without the man appearing on screen as he would in a conventional film.
The first episodes of Mirror were written while Tarkovsky was working on Andrei Rublev. These episodes were published as a short story under the title A White Day in The title was taken from a poem by his father, Arseny Tarkovsky.
In , after having finished Andrei Rublev , Tarkovsky went to the cinematographer's resort in Repino intending to write the script for The Mirror together with Aleksandr Misharin.
This script was titled Confession and was proposed to the film committee at Goskino. Although it contained popular themes — for example, a heroic mother, the war, and patriotism — the proposal was turned down.
The main reason was most likely the complex and unconventional nature of the script. Moreover, Tarkovsky and Misharin clearly stated that they did not know what the final form of the film would be — this was to be determined in the process of filming.
With the script being turned down by the film committee, Tarkovsky went on to make the film Solaris. But his diary entries show that he was still eager to make the film.
Finally, the script was approved by the new head of Goskino, Filipp Ermash in the summer of Tarkovsky was given a budget of , Soviet ruble and metres 24, feet of Kodak film, corresponding to minutes, or roughly three takes assuming a film length of metres 10, feet.
Several versions of the script for Mirror exist, as Tarkovsky constantly rewrote parts of the script, with the latest variant of the script written in while he was in Italy.
One scene that was in the script but that was removed during shooting was an interview with his mother. Tarkovsky wanted to use a hidden camera to interview her on the pretext that it was research for the film.
This scene was one of the main reasons why Vadim Yusov , who was the camera-man for all of Tarkovsky's previous films refused to work with him on this film.
Only while filming Tarkovsky decided to finally title the film Mirror. A poster of Tarkovsky's film Andrei Rublev is seen on a wall.
In the end Margarita Terekhova was chosen. Principal photography began in late July  and ended in March Outdoor scenes were shot in Tutshkovo near Moscow and the indoor scenes were shot at the Mosfilm studio.
The completed film was initially rejected by Filipp Ermash, the head of Goskino in July One reason given was that the film is incomprehensible.
Tarkovsky was infuriated about this rejection and even toyed with the idea of going abroad and making a film outside the Soviet Union.
Mirror was ultimately approved by Goskino without any changes in fall Mirror never had an official premiere and had only a limited, second category release with only 73 copies.