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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

The bounds of the director’s conception extend far beyond the autobiographical screenplay and shooting script, beyond even the specific memories and associations on which Tarkovsky based Mirror; the conception

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

Formethereisnodifferencebetweenascience-fiction,anhistoricalandacontemporaryfilm.Ifitisdirectedbyanartist,thentheproblemsthatconcernthedirectorarethelegacyofthecurrentday,wha

TheparticularabilityofcinematoaddresstheimaginaryisevidentinTarkovsky’streatmentofphotographs.Intheprologueonearthweareshowntheblack-and-whitephotographofKelvin’smotherinaframeo