Abstract

Aleksandr Sokurov's Mother and Son (1997) presents a highly allusive pictorialized vision of landscape, one highly derivative of the German Romantic painter Caspar David Friedrich. But the film's denaturalizing of nature goes even further than this, mobilizing peripheral space, chance, soundtrack/picture disjunction and cinematic excess — all traces of the ‘Sokurovian unconscious’, a puckish counter-text working to subvert the work's received elegiac mood.

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