Alexander Sokurov

At 73 years old, Alexander Sokurov physical status not available right now. We will update Alexander Sokurov's height, weight, eye color, hair color, build, and measurements.

Alexander Nikolayevich Sokurov, PAR (born 14 June 1951) is a Russian filmmaker.

His most notable productions include a feature film, Russian Ark (2002), shot in a single unedited version, and Faust (2011), which was awarded with the Golden Lion, the highest award for the best film at the Venice Film Festival, and a feature film.

Life and work

Sokurov was born in Podorvikha, Irkutsky District, Siberia, to the families of a military officer. He graduated from the History Department of the Nizhny Novgorod University in 1974 and joined one of the VGIK studios the following year. He was introduced to Tarkovsky and was greatly inspired by his film Mirror. Soviet authorities barred the majority of Sokurov's early appearances. Several documentaries were produced during his time as a professional, including The Dialogues with Solzhenitsyn and a report about Grigori Kozintsev's apartment in Saint Petersburg. In 1987, Mournful Unconcern was nominated for the Golden Bear at the 37th Berlin International Film Festival.

Mother and Son (1997) was his first internationally recognized feature film. It was entered into the 20th Moscow International Film Festival, where it took home the Special Silver St. George Award. It was mirrored by Father and Son (2004), which baffled the scholars with its implicit homoeroticism (though Sokurov himself has sluggishly). Susan Sontag named two Sokurov films among her ten favorite films of the 1990s, adding: "There's no director alive today whose films I love as much." He received the Master of Cinema Award of the International Film Festival Mannheim-Heidelberg in 2006.

Sokurov has attended the Cannes Film Festival for four years, with four of his films having premiered there. Sokurov didn't win top accolades at major international festivals until 2011. The semi-documentary Russian Ark (2002), which was best known for its stunning photographs and single unedited shot, was one of his longest commercially and critically successful films for a long time.

Sokurov has produced a tetralogy examining the damaging effects of influence. The first three installments were dedicated to influential twentieth-century figures: Moloch (1999), about Hitler, Taurus (2001), about Lenin, and The Sun (2005) about Hirohito. Sokurov shot Faust, the last part of the series, a retelling of Goethe's tragedy in 2011. In competition at the 68th Venice International Film Festival, the film, which depicts instincts and plots of Faust in his search for fame, premiered on September 8th, 2011. The film received the Golden Lion, the highest award of the Venice Festival. "The film has no particular relevance to current events in the world" according to producer Andrey Sigle, "it is set in the early 19th century, but it echoes Sokurov's continuing attempts to comprehend man and his inner forces."

Sokurov's continued interest in the military influenced a significant portion of the USSR's population. Spiritual Voices, three of his works, including From the Diaries of a War, Confession, From the Commander's Diary to Soldier's Dream, military life revolves around military life. Several independent film festivals have screened confessions, while the other two are virtually unknown.

Sokurov accompanied Russian troops to a post on the Tajikistan-Afghanistan border in 1994. The result was Spiritual Voices: From the Diaries of a War to a 327-minute cinematic reflection on the war and the Russian army's spirit. Landscape photography is included in the film, but the sound (including works by Mozart, Messiaen, and Beethoven) and the music (including Mozart, Messiaen and Beethoven) are also very important. Soldier jargon, as well as other creature sounds, sighs, and other location sounds in the fog add to the film's phantasmagorical feel. The film brings together all the elements that characterize Sokurov's films: long takes, elaborate filming and image processing techniques, a blend of documentary and fiction, the importance of the landscape, and the feeling of a filmmaker who brings transcendence to everyday gestures.

The faces of the young soldiers never fades from the film's ride from Russia to the border post. Sokurov captures their physical appearance and mental deposition, as well as daily habits such as eating food, smoking, writing letters, and cleaning duties. There is no beginning or end to the dialogues; Sokurov rejects the traditional narrative system. The last segment of the film commemorates the start of the New Year in 1995, but the joy is fleeting. Everything remains the same the next day: the endless line at a border post, fear, and desolation.

Confession: The Commander's Diary, Sokurov film officers from the Russian Navy, demonstrating the monotony and lack of independence in their daily lives. We can now track a Ship Commander's thoughts through the dialogue. Sokurov and his crew travelled by sea on the Barents Sea for Kuvshinka, a naval base in the Murmansk region. The crew, who were anchored in Arctic waters, filmed the sailors as they went about their normal routine duties.

Soldier's Dream is another Sokurov film that discusses military themes. There is no dialogue in it. This film came out of the footage that was shot for one of the scenes in part three of Spiritual Voices. Soldier's Dream was shown at the Oberhausen Film Festival in Germany in 1995, when Spiritual Voices was still on the recording stage, as Sokurov's tribute to Eastern European filmmakers was screened.

He has severe eye problems.

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