Slow pace in the most part of the movie.

good back-story, and good acting

Best movie ever!

It’s sentimental, ridiculously long and only occasionally funny

Tarkovsky: you either love him or hate him. It's imperative to understand that Tarkovsky is more about mood and imagery than strong driving narrative, although it's untrue that this film lacks narrative (unlike Mirror which is simply a collection of scenes). The story is there in Nostalgia: the characters are all real and fight for their needs and wants - there is conflict. But Tarkovsky is more interested in the feeling of the story rather than clearly communicating plot information and keeping you locked into classical narrative structure.VERY few filmmakers can do this well, and countless filmmakers try to imitate Tarkovsky and miserably fail, partly because they don't understand that there is a real story happening here - it's just presented in a way that is highly allegorical. This is definitely not 'lazy' filmmaking, or style covering for a lack of technique (Tarkovsky was a highly literate man who could run circles around most Hollywood scriptwriters, and he had the services of Antonioni's screenwriter for Nostalgia). He is simply one of the very few filmmakers who can make a good film without adhering to classical narrative film structure.As is traditional for Tarkovsky, the actors are all top notch, the cinematography is divine, the sound design is intentional and the music is very judiciously chosen. Nothing is left to chance. And yes, of course there is plenty of water, as with his other films! Would I have enjoyed a more traditional narrative format for a film like this? Yes, which is why I gave this film only seven stars. Tarkovsky could have done a bit more to keep us involved in the story without compromising the mood he was building. But I still gladly accept this film for what it is - it has some absolutely magical, brilliant moments that forever stay in your mind.If you're new to Tarkovsky, it's probably a better idea to start with some of his more accessible films, such as Ivan's Childhood and Solaris.

Nostalghia was the first non sci-fi movie I saw from Tarkovskij (I though understanding the audio would make it better), and maybe that was a wrong decision. It would have been better to start with the earlier movies. Now that I saw his last work though, Sacrifice, and understood it as well, I could understand this movie better. Nostalghia has a similar anti-modernism like sacrifice, various themes, and despite it's just two hours long, it's one of the slowest Tarkovskij films. This and Sacrifice represent well the director's last years of filmmaking. Although Nostalghia wasn't my favourite Tarkovskij, I still consider a masterpiece, just as Sacrifice.

Tarkovsky's my first real love. This man's films felt as if they were drawn directly from my own soul, image form given to my own dreams. His camera-eye is marvelously free, even here where mostly it moves so geometrically to put Greena-way to shame, or then just observing, silently and without moving. This isn't like "Andrei Rublev" (1966), which deep down I still cherish more than anything, and where the eye moves much like Malick likes to move it nowadays: here there's apparent discipline, kind of theoretical rumination in all the eye does and perceives, but it's of such beauty I dare one to ignore it. One may see this in how he sees small, every day things either up close or far away — light paints and shadows frame the action, which usually consists of us gazing upon a scene far in the distance. Surely the poet mirrors Tarkovsky and what he does. It's Andrei (Gorchakov, the poet in the film) who carries the candle the distance but it's Andrei (Tarkovsky, the director) who carries it for us to see.The famous forced perspective shot in the end is worth its reputation, but for me the interiors are the most breathtaking shots. This is great to see before "Offret" (1986) but especially after "Zerkalo" (1975). The former has, over the years, been unable to elicit the kind of reaction Tarkovsky usually does (it's his most difficult film for me for that reason, by no means reduced in mastery) so this kindles its flame. The latter, however, is as perfect as it gets, and stretches out to this as well, annotating, amplifying, extending.

This is one of the most beautiful movies I have ever seen. The main plot is about a Russian poet who comes to Italy to do some research on a composer. For those who love Action Thrillers: I have to say that this movie is probably not for you. This requires patience and a good deal of thinking. This isn't something you can watch with half your mind on what you're going to buy at the grocery store. What I love the most about this movie, is that you can see the characters thinking. What I find lacking in most movies, is the constant action, constant talking. In Nostalghia, you find yourself immersed in the character's thoughts. Tarkovsky uses a great deal of visual metaphores as well; you have to pay close attention to what you're watching. It could turn out to be something completely different from what you thought it was to be.All in all; this isn't something to be watched "lightheartedly". I recommend it to everyone. It truly is a work of art.