Nobody could argue that Mark Pellington’s “Nostalgia” isn’t clear about the nature of its concern.
From its mournful opening credits to its bittersweet final beat, this strange mosaic — a relatively star-studded melodrama that’s passed from one sad character to another like a baton or a bad cold — is a movie with only one thing on its mind.
Of course, there’s nothing inherently wrong with a story that’s so willing to spend itself on a single idea, but nostalgia is maybe too elusive a subject for such close examination.It’s a universal sensation — memory’s aftertaste.
But it’s also one of the most intensely personal feelings we have (or pleasantly suffer through), so difficult to retrace in fiction because it requires a character to have something and lose something at the same time; to be seduced by a shadow for the sole reason that
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