Some of those sequences just go on and on and on. There were times when I was thinking, "Get a move on, some of us have trains to catch."
Tarkovsky hearts Bergman. For The Sacrifice he borrows his actors, his cinematographer, his landscape, his mood. The Edwardian dresses are out of Cries and Whispers. The screaming warplanes are out of Shame.
An online article suggests that the key to the film is to be found in Nietzsche. Apparently Tarkovsky was very taken with the Nietzschean doctrine of the Eternal Return.
I think the Eternal Return is bollocks. Does this mean I'm shallow?
The first time they set the house on fire the cameras jammed. So they had to rebuild it and try again. Oh, but that's an amazing sequence. The choreography. The timing.
Who called the ambulance?