The Liberated Camera

By: Giuliano Vivaldi

The great films that bookend the career of Mikhail Kalatozov brought together revolutionary politics and revolutionary cinema. Each, however, was firmly rejected by the movements they aimed to represent.

Still from Salt for Svanetia (1930).

While Sergei Eisenstein, Dziga Vertov, and Andrei Tarkovsky are undeniably the most celebrated names in Soviet cinema, the Georgian director Mikhail Kalatozov has some influential advocates of his own. Both Soviet and French directors of the 1960s have cited 1957’s The Cranes Are Flying as a cinematic epiphany. Yet two of Kalatozov’s films — Salt for […]

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While Sergei Eisenstein, Dziga Vertov, and Andrei Tarkovsky are undeniably the most celebrated names in Soviet cinema, the Georgian director Mikhail Kalatozov has some influential advocates of his own. Both Soviet and French directors of the 1960s have cited 1957’s The Cranes Are Flying as a cinematic epiphany. Yet two of Kalatozov’s films — Salt for […]

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While Sergei Eisenstein, Dziga Vertov, and Andrei Tarkovsky are undeniably the most celebrated names in Soviet cinema, the Georgian director Mikhail Kalatozov has some influential advocates of his own. Both Soviet and French directors of the 1960s have cited 1957’s The Cranes Are Flying as a cinematic epiphany. Yet two of Kalatozov’s films — Salt for […]

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While Sergei Eisenstein, Dziga Vertov, and Andrei Tarkovsky are undeniably the most celebrated names in Soviet cinema, the Georgian director Mikhail Kalatozov has some influential advocates of his own. Both Soviet and French directors of the 1960s have cited 1957’s The Cranes Are Flying as a cinematic epiphany. Yet two of Kalatozov’s films — Salt for […]

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The Liberated Camera

The Liberated Camera

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