Andrei Tarkovsky: 90 years of the sculptor of time in the cinema – Cinema and Tv – Culture

(You can read: The incredible multiverse movie that kicks Marvel).

Cinema could be poetry, it could have long sustained shots and let time accumulate on the screen

So I had to go back to 1962, the year Tarkovsky made his film debut, thanks to a commission from Mosfilm (Moscow Film Institute). Today, talking about commissions refers to thinking about straitjackets like the ones that Netflix fits directors when making a movie. Iván’s childhood, his debut film, could not be further from that.

(Another topic: The struggle of ‘queer’ cinema: between scandal and censorship).

Solaris tells the story of a planet whose water evokes past memories of the crew members who invade it. Even though it is a poetic film, which put aside the fetishism for technology that has marked the science fiction genre so much, it is possibly the least ‘Tarkovskian’ of his films, since the filmmaker suffered harassment from the production company and lawsuits with the leading actor Donatas Banionis. That is why it is not surprising that his next film (The Mirror) was so personal, in order to shake off that experience.

(More to read: Actor Jean-Louis Trintignant, eternal gentleman of French cinema, has died).

The film is the appropriate twilight story, one that echoes with the author’s environment. In the film, World War III breaks out (the film was made during the height of the Cold War). The protagonist of the story, a man on his birthday, becomes convinced that one of his maids is a witch who has the power to save the world through a last sacrifice.

To no one’s surprise, Tarkovsky had to flee his country. His first film abroad was ‘Nostalgia’, recorded in Italy


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