《乡愁》是俄国导演塔可夫斯基的代表作,整部电影渗透着浓厚的古典美学气质,这主要表现在电影画面严谨的古典式的构图,包括人物的排列,场景的布陈等。黑白影片的交出现、许多的画面反复出现多次,暗示了记忆和现实的关系。这种表达记忆的方法很忠实,因为它基于人对记忆的经验而不是思维分析。塔可夫斯基在《乡愁》中构造的对故乡的情感带有深刻的宗教信仰般的精神,同时将电影推入诗性叙述。他拒绝阐明影片中的叙事逻辑,而是通过诗的方式将更多的人拉入对自我的感悟,对自身存在的反观。乡愁弥漫的意味深长使得我们难于解答大部分微妙的部分,基于生命经验本身,电影和个体生活、生命现实之间建立起了对话。 Nostalgia is the representative of Russian director Tarkovsky. The whole film permeates the strong classical aesthetics, which is mainly manifested in the rigorous and classical composition of the cinematography, including the arrangement of characters and the layout of scenes. The delivery of black and white films, many pictures repeated many times, suggesting the relationship between memory and reality. This method of expressing memory is very loyal because it is based on human experience of memory rather than thinking. Tarkovsky’s deep feeling of religious belief in his hometown in Nostalgia has pushed the film into a poetic narrative. He refuses to clarify the narrative logic in the film. Instead, he pulls more people into the perception of self and the reflection of his own existence through the way of poetry. The nostalgic nature of the nostalgia made it difficult for us to answer most of the subtle parts of the dialogue based on the experience of life itself, between film and individual life, and from the reality of life.