Andrei Tarkovsky’s The Sacrifice (Offret), released in 1986, is a deeply meditative Swedish drama that blends philosophy, spirituality, and apocalyptic dread. As Tarkovsky’s final film before his death, it is often viewed as his cinematic farewell, brimming with symbolism and existential weight.
Detailed Summary
Opening: Alexander’s Birthday
The story begins on the birthday of Alexander (played by Erland Josephson), a retired actor and journalist. He is spending the day at his home in rural Sweden with his family and friends. The opening scene shows him planting a dead tree with his young son, “Little Man,” as a symbolic act of faith and hope.
The Celebration Interrupted
During Alexander’s birthday gathering, the serene atmosphere shifts when television broadcasts announce that nuclear war has broken out. The looming threat of annihilation shatters the peaceful domestic setting, forcing everyone into fear and despair.
Alexander’s Bargain with God
In a state of desperation, Alexander retreats into prayer. He makes a solemn promise to God: if humanity is spared from destruction, he will renounce everything he loves, give up his family and possessions, and devote himself wholly to God.
The Encounter with Maria
Otto, Alexander’s eccentric postman friend, tells him that Maria, a local maid rumored to be a witch, has the power to save them. Following this advice, Alexander goes to Maria. Their encounter, filled with mystical overtones, is presented as an act of spiritual consummation. Tarkovsky films it with surreal intimacy, suggesting that this union might be the key to averting disaster.
The World Restored
The next morning, the world appears to have returned to normal. War has seemingly been averted. Alexander, however, true to his vow, begins to renounce everything. He sets fire to his beloved house, watching it burn as he descends into madness—or spiritual transcendence, depending on one’s interpretation.
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Movie Ending
The climax is devastating yet profoundly symbolic. After setting his house ablaze in front of his horrified family, Alexander is restrained and taken away in an ambulance. This act is both sacrifice and liberation: he fulfills his vow, relinquishing all he loves in gratitude for humanity’s survival. Meanwhile, his mute son waters the tree they had planted earlier, and he speaks his only line in the film: “In the beginning was the Word.”
This ending leaves viewers with multiple layers of interpretation—did Alexander’s sacrifice truly save the world, or was the apocalypse merely imagined? Was the union with Maria a mystical miracle, or an act of madness? Tarkovsky leaves the answer in ambiguity, forcing the audience to wrestle with themes of faith, responsibility, and the possibility of redemption.
Are There Post-Credits Scenes?
No. The Sacrifice has no post-credits scenes. Tarkovsky leaves the story complete in its final frame with the boy’s line and the lingering image of the tree. The silence after the credits is intentional, encouraging reflection.
Type of Movie
The Sacrifice is an art-house drama with philosophical and spiritual themes, often described as a metaphysical apocalypse film. It defies conventional storytelling in favor of long takes, dreamlike sequences, and symbolic imagery.
Cast
- Erland Josephson as Alexander
- Susan Fleetwood as Adelaide (Alexander’s wife)
- Allan Edwall as Otto
- Guðrún Gísladóttir as Maria
- Tommy Kjellqvist as Little Man
- Filippa Franzén as Marta
Film Music and Composer
Music plays a subtle but crucial role. Tarkovsky uses:
- Johann Sebastian Bach’s St. Matthew Passion to underscore spiritual intensity.
- Japanese composer Toru Takemitsu contributed additional music, enhancing the dreamlike quality.
Filming Locations
The film was shot primarily on the island of Gotland, Sweden, particularly at Närsholmen. The isolated location heightened the sense of timelessness and vulnerability, with the natural landscapes reflecting Tarkovsky’s interest in elemental imagery (earth, fire, water, wind).
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Awards and Nominations
- Won the Grand Prix at the 1986 Cannes Film Festival.
- Also received the Prize of the Ecumenical Jury and the FIPRESCI Prize at Cannes.
- Nominated for several international awards and is now considered a cornerstone of art cinema.
Behind the Scenes Insights
- The house-burning scene had to be shot twice. The first attempt failed because the camera malfunctioned. Tarkovsky had to rebuild the house to film the sequence again.
- Tarkovsky was gravely ill with cancer during production, which adds poignancy to the film’s themes of sacrifice and mortality.
- Erland Josephson described the long takes as emotionally exhausting but spiritually rewarding.
- Tarkovsky relied heavily on natural light and minimal editing, creating the painterly visuals he was famous for.
Inspirations and References
- Loosely inspired by Fyodor Dostoevsky’s spiritual and existential works.
- Echoes of Ingmar Bergman’s cinema (with whom Tarkovsky shared deep respect) are evident, especially in the use of Swedish landscapes and metaphysical dialogue.
- Biblical themes run throughout, especially Abraham’s sacrifice of Isaac and the Gospel of John.
Alternate Endings and Deleted Scenes
No official alternate ending exists, but some reports suggest that Tarkovsky originally considered leaving the outcome of the nuclear threat more ambiguous. The final version leans toward symbolic resolution, showing the world restored after Alexander’s sacrifice.
Book Adaptations and Differences
The film is not directly adapted from a book but is heavily influenced by literature, theology, and philosophy. Its structure and themes are closer to a cinematic poem than a conventional narrative.
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Memorable Scenes and Quotes
Key Scenes
- Alexander and his son planting the tree at the beginning.
- The announcement of nuclear war disrupting the birthday celebration.
- Alexander’s prayer of sacrifice.
- The mystical union with Maria.
- The burning of the house and Alexander’s removal by ambulance.
Iconic Quotes
- “In the beginning was the Word.” – Little Man
- “It is necessary to sacrifice that which is most precious.” – Alexander
- “One word of truth shall outweigh the whole world.” – Otto
Easter Eggs and Hidden Details
- Tarkovsky dedicated the film to his son, Andrei Jr., seen in the symbolism of the mute boy.
- The tree motif references a Japanese legend about a monk who watered a dead tree until it bloomed.
- Tarkovsky uses mirrors and reflections as symbols of inner truth and duality.
Trivia
- Tarkovsky knew he was terminally ill during production, making the film his own personal act of sacrifice.
- The final scene with the burning house required months of preparation and a specially constructed building.
- This was Tarkovsky’s only film made entirely outside the Soviet Union.
Why Watch?
Because The Sacrifice is not just a movie—it’s an experience. It challenges viewers to confront mortality, faith, and the fragility of human existence. If you’re drawn to contemplative cinema that lingers long after the credits roll, this film is a must-see.
Director’s Other Movies
- Ivan’s Childhood (1962)
- Andrei Rublev (1966)
- Solaris (1972)
- Mirror (1975)
- Stalker (1979)
- Nostalghia (1983)
