Andrei Tarkovsky’s Nostalghia (1983) is a slow, meditative journey into the soul, balancing themes of memory, exile, spiritual longing, and the weight of history. Shot in Italy but suffused with Russian melancholy, it is a deeply poetic film that often feels like a moving painting rather than a traditional narrative. Below is a comprehensive breakdown of the film and its many layers.
Detailed Summary
Arrival in Italy
Russian poet Andrei Gorchakov (played by Oleg Yankovsky) travels to Italy with his interpreter, Eugenia (Domiziana Giordano), to research the life of an 18th-century Russian composer who once lived there. While in Italy, Andrei finds himself alienated from his surroundings, experiencing cultural and spiritual dislocation.
Meeting Domenico
Andrei becomes fascinated by Domenico (Erland Josephson), a local man who had once locked his family inside their house for years to protect them from the corruption of the outside world. Seen as a madman by many, Domenico represents a kind of prophetic figure, obsessed with spiritual renewal and sacrifice.
Tension with Eugenia
Eugenia grows frustrated with Andrei’s emotional distance. She desires connection, but he seems preoccupied with memories of Russia, his wife, and an overwhelming sense of estrangement. Their interactions highlight Tarkovsky’s recurring theme: the impossibility of bridging personal and cultural divides when one is spiritually adrift.
The Ritual of the Candle
Domenico tells Andrei that he must carry a lit candle across an empty drained pool as an act of faith, symbolizing spiritual perseverance against absurdity. This challenge haunts Andrei, who feels a deep affinity with Domenico’s quest for transcendence, though he struggles with his own physical and emotional exhaustion.
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Movie Ending
The film culminates in two interwoven climaxes.
In one thread, Domenico publicly addresses a crowd in Rome, standing atop a statue and delivering an impassioned speech about humanity’s moral decay, our neglect of true spirituality, and the urgent need for faith. His words fall largely on deaf ears, a symbol of modern society’s indifference to higher truths. In an act of ultimate sacrifice, Domenico sets himself on fire, echoing the image of self-immolating monks protesting injustice. His death is both horrifying and transcendent—a desperate cry for spiritual renewal.
Meanwhile, Andrei attempts to fulfill Domenico’s request by carrying the lit candle across the drained pool. He fails several times, the flame extinguishing in the wind. Tarkovsky forces us to witness every slow, painstaking attempt, making the scene feel like a prayer. Finally, Andrei succeeds, reaching the other side with the candle still burning. At that moment, he collapses, overwhelmed, and dies.
The final image is one of Tarkovsky’s most haunting: Andrei sits with his dog in front of his Russian home, but the house is enclosed within the ruins of an Italian cathedral. This surreal fusion of Russia and Italy symbolizes his divided identity, his longing for home, and the eternal weight of nostalgia. It is both peaceful and deeply unsettling.
Are There Post-Credits Scenes?
No, Nostalghia does not have a post-credits scene. Like most Tarkovsky films, the ending is final and self-contained, leaving the audience in contemplation.
Type of Movie
This is an art-house drama and philosophical film. It is slow-paced, symbolic, and contemplative—closer to a spiritual meditation than a conventional narrative drama.
Cast
- Oleg Yankovsky as Andrei Gorchakov
- Erland Josephson as Domenico
- Domiziana Giordano as Eugenia
- Patrizia Terreno as the Madonna figure
Film Music and Composer
The soundtrack includes sacred music by Giuseppe Verdi and Ludwig van Beethoven, as well as compositions by Russian composer Vyacheslav Ovchinnikov, who worked with Tarkovsky on previous projects. The blend of Western classical and Russian elements reflects the dual settings of the story.
Filming Locations
The film was shot primarily in Italy: Tuscany, Rome, and Bagno Vignoni, where the drained pool sequence was filmed. These locations carry symbolic weight: the ancient ruins and stark landscapes mirror Andrei’s feelings of alienation and spiritual emptiness.
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Awards and Nominations
- Won the Best Director Prize at Cannes 1983 (shared with Robert Bresson for L’Argent).
- Won the Prize of the Ecumenical Jury at Cannes.
- Tarkovsky also received a special FIPRESCI Award from international critics.
Behind the Scenes Insights
- Tarkovsky originally wanted to film in Russia, but the Italian-French co-production led him to relocate the story to Italy.
- The candle-carrying scene was shot in real time and required multiple takes; Tarkovsky insisted it remain uncut to preserve its spiritual intensity.
- Tarkovsky himself was in exile at the time of production, and his sense of displacement infused the film.
- Erland Josephson (Domenico) was a longtime collaborator with Ingmar Bergman, giving the film an additional layer of European arthouse connection.
Inspirations and References
The film is heavily inspired by Russian poetry and the works of Alexander Pushkin and Fyodor Tyutchev. It also draws on Tarkovsky’s own experience as an artist in exile, grappling with themes of nostalgia, homeland, and spiritual loss.
Alternate Endings and Deleted Scenes
There are no confirmed alternate endings, but some early drafts of the screenplay were said to have emphasized Eugenia’s role more strongly. Tarkovsky ultimately chose to focus on Andrei and Domenico, streamlining the narrative into a spiritual dialogue between the two men.
Book Adaptations and Differences
While not directly based on a book, Nostalghia borrows thematically from Russian literature, especially Dostoevsky’s preoccupation with faith, suffering, and redemption. Tarkovsky’s adaptation transforms these influences into a highly personal cinematic meditation.
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Memorable Scenes and Quotes
Key Scenes
- Domenico standing in the fountain in Rome, giving his apocalyptic speech.
- The candle-carrying sequence across the drained pool.
- The surreal final image of Andrei’s Russian home within the ruins of an Italian cathedral.
Iconic Quotes
- Domenico: “We must burn the old world. You must mix what is personal with what is universal.”
- Andrei: “Nostalgia is not only longing for the past, but for another reality, perhaps unattainable.”
Easter Eggs and Hidden Details
- The drained pool is a real location in Bagno Vignoni, a historic spa town in Tuscany, chosen by Tarkovsky for its stark, haunting atmosphere.
- The dog in the final scene echoes the dog from Stalker, serving as a recurring Tarkovskian symbol of loyalty and silent witness.
- The fusion of Andrei’s Russian home with Italian ruins visually represents Tarkovsky’s own exile, torn between two cultures.
Trivia
- Tarkovsky’s last two films (Nostalghia and The Sacrifice) were made outside of Russia due to his conflict with Soviet authorities.
- The title “Nostalghia” is spelled with an extra “h,” an Italian archaism that Tarkovsky insisted on keeping, as he felt it captured a deeper, more spiritual sense of longing.
- Tarkovsky was seriously ill during the making of the film and would die just a few years later (1986).
Why Watch?
Watch Nostalghia if you are drawn to films that feel more like poetry than plot. It’s demanding, but deeply rewarding—an exploration of exile, spiritual faith, and human frailty. It is not a film for quick entertainment, but for those willing to sit with silence, symbolism, and profound existential questions.
Director’s Other Movies
- Ivan’s Childhood (1962)
- Andrei Rublev (1966)
- Solaris (1972)
- Mirror (1975)
- Stalker (1979)
- The Sacrifice (1986)
