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THE CRANES ARE FLYING
1957
Director
Mikhail Kalatozov
Starring
Tatyana Samoylova
Aleksey Batalov
Vasili Merkuryev
Aleksandr Shvorin
Runtime
97 minutes
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THE TEN PILLARS OF BEACON: REVELATION
A powerful moment of revelation. When it is done well, an instance of revelation collapses whatever narrative we may have been drawn in by and links hands with understanding beyond reason. Whatever reason you left your home to come to the cinema vanishes and you are totally one with the dream. These moments seem to teleport us outside of time or place, they grab hold of something deep inside the collective imagination and shake us out of whatever limits we thought we had. For us movie-going heathens, any movie can feel like touching or speaking with god. Shots or lines of dialogue can dig so deep through our retinas that they scratch our souls. When we watch other people in a film have this same revelation in their own time and space, and that coalesces with our own revelation, we become one. These instances deserve their own spotlight and so we have picked from the ether one of the many great revelations to share with you again. Amen.
This landmark film by the virtuosic Mikhail Kalatozov was heralded as a revelation in the post-Stalin Soviet Union and the international cinema community alike. It tells the story of Veronica (Tatiana Samoilova) and Boris (Alexei Batalov), a couple who are blissfully in love until World War II tears them apart. With Boris at the front, Veronica must try to ward off spiritual numbness and defend herself from the increasingly forceful advances of her beau’s draft-dodging cousin. Winner of the Palme d’Or at the 1958 Cannes Film Festival, THE CRANES ARE FLYING is a superbly crafted drama with impassioned performances and viscerally emotional, gravity-defying cinematography by Kalatozov’s regular collaborator Sergei Urusevsky.
“The link between man and the world is broken. Henceforth, this link must become an object of belief: it is the impossible which can only be restored within a faith. Belief is no longer addressed to a different or transformed world. Man is in the world as if in a pure optical and sound situation. The reaction of which man has been dispossessed can be replaced only by belief. Only belief in the world can reconnect man to what he sees and hears. The cinema must film, not the world, but belief in this world, our only link.” - Gilles Deleuze, Cinema II: The Time-Image
A powerful moment of revelation. When it is done well, an instance of revelation collapses whatever narrative we may have been drawn in by and links hands with understanding beyond reason. Whatever reason you left your home to come to the cinema vanishes and you are totally one with the dream. These moments seem to teleport us outside of time or place, they grab hold of something deep inside the collective imagination and shake us out of whatever limits we thought we had. For us movie-going heathens, any movie can feel like touching or speaking with god. Shots or lines of dialogue can dig so deep through our retinas that they scratch our souls. When we watch other people in a film have this same revelation in their own time and space, and that coalesces with our own revelation, we become one. These instances deserve their own spotlight and so we have picked from the ether one of the many great revelations to share with you again. Amen.
This landmark film by the virtuosic Mikhail Kalatozov was heralded as a revelation in the post-Stalin Soviet Union and the international cinema community alike. It tells the story of Veronica (Tatiana Samoilova) and Boris (Alexei Batalov), a couple who are blissfully in love until World War II tears them apart. With Boris at the front, Veronica must try to ward off spiritual numbness and defend herself from the increasingly forceful advances of her beau’s draft-dodging cousin. Winner of the Palme d’Or at the 1958 Cannes Film Festival, THE CRANES ARE FLYING is a superbly crafted drama with impassioned performances and viscerally emotional, gravity-defying cinematography by Kalatozov’s regular collaborator Sergei Urusevsky.
“The link between man and the world is broken. Henceforth, this link must become an object of belief: it is the impossible which can only be restored within a faith. Belief is no longer addressed to a different or transformed world. Man is in the world as if in a pure optical and sound situation. The reaction of which man has been dispossessed can be replaced only by belief. Only belief in the world can reconnect man to what he sees and hears. The cinema must film, not the world, but belief in this world, our only link.” - Gilles Deleuze, Cinema II: The Time-Image
Part of the program
THE TEN PILLARS OF BEACON: CELEBRATING OUR FIFTH ANNIVERSARY