Abstract
Unable to work in Russia because of political interference, filmmaker Andrey Tarkovsky received permission to shoot his film Nostalghia (1983) in Italy. The film’s protagonist, Gorchakov, represents Tarkovsky’s alienation as a deeply religious Russian in a western country with very different values. The title references this alienation, not a longing for the past. The Savonarola-like figure of the Italian Domenico is a stereotypical caricature; his pointless self-immolation after a bombastic speech contrasts with Gorchakov’s silent, pious gesture of carrying a candle across the empty Roman bath to his death, a metaphor for Tarkovsky’s work abroad foreshadowing his own end.
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