相关语录

Ofcourse,Eugenia’stemptationto‘surrendertotheinertia’ofnaturalflowsisinseparablefromherhystericalresistancetoit;thistensionisattheheartofallofTarkovsky’scharactersandevenhiscam

EachofTarkovsky’spoemspresentsasinglespacewithinwhichthreedetailsaresimultaneouslypresent.Moreover,notallofthelinescommunicatesingleimages;somedescribemotionorevensoundwithinthes

Afterdeclaringon10July1984hisintentiontoremainintheWest,Tarkovskyreceivedaprovocativeletterfromhisfather,promptinghimtoinsist:‘IwasandremainaSovietartist.’Whenchallengedonthe

The aural accompaniment adds a further level of thickness to these sequences, especially the second, which proceeds to the strains of Eduard Artem’ev’s electronic score and then to Arsenii Tarkovsky’s poem ‘Lif

One returns to the image of Otto and Alexander speaking through the glass door. It is easy enough to dismiss what Otto says about the mysterious photograph, the mystical terror of Leonardo’s canvas, or the idea

Tarkovskyhassometimesbeensuspectedofpursuingjustsuchanimpassive,alienviewontheworld.Inparticular,thereactionsofcinemaauthoritiestoMirrorsuggestthatthiswaspreciselythewaytheyread

Tarkovsky’smainconcernwastoreplaceBogomolov’smatter-of-factmannerwitha‘poetic’visualstyle.Poeticcinema,atleastforTarkovskyasthistime,meant‘exploding’thelogicalconnectionsbetweeneven

MuchoftheconfusioninthehistoryofMirrorstemsinacardinalshiftofemphasisthatoccurredduringthefilm’spreparation.ConceivedasafilmaboutTarkovsky’smother,iteventuallybecameanautobiogra

Formethereisnodifferencebetweenascience-fiction,anhistoricalandacontemporaryfilm.Ifitisdirectedbyanartist,thentheproblemsthatconcernthedirectorarethelegacyofthecurrentday,wha

TheparticularabilityofcinematoaddresstheimaginaryisevidentinTarkovsky’streatmentofphotographs.Intheprologueonearthweareshowntheblack-and-whitephotographofKelvin’smotherinaframeo