Igor Gnevasev / Global Look Press In fact, he is one of the biggest directors in Russia who produced only 7 films, so there are a few words about each of them and why you need to watch them.
"For me, God is," said Lars von Trier about Russian film director Andrew Tarkovsky. In an interview with Time Out London, von Trier said that in 1975 Tarkovsky watched the film The Mirror 20 times. Recently, four of Tarkovsky's films have been included in the list of the BBC's 100 largest foreign films of all time.
The beauty and philosophical silence of Tarkovsky's work is still inspired by the well-known directors von Trier, Andrey Zvyagintsev, and a new generation of filmmakers.
One of the most visionary, famous and influential filmmakers during his tragic death at the age of 54, Tarkovsky produced only seven full-length films. All are metaphysical and spiritual studies of humanity, and each film is recognized worldwide as an art masterpiece.
1. Ivan's Childhood, 1962
This is the first feature film Tarkovsky. Twelve-year-old Ivan, who was hit by Hitler's invasion, became a robber for the Soviet army. He risks his life when he slips between the marshy front.
The film won the Tarkovsky Awards in the West because it won the Golden Lion at the Venice Festival.
2. Andrei Rublev, 1966
The next film of Tarkovsky is an example of his progress. Episodic film shows eight moments in the life of Andrew Rublev, a Russian iconographer from the 15th century. Many interpreted it as an allegory for the distress of the artist under the Soviet regime and, therefore, they have not been marketed in Russia for many years in Russia.
3. Solaris, 1972
Tarkovsky won more praise after he adapted that the scientific fantasy novel Solaris was shown by Polish writer Stanislaw Lem. This story talks about a scientist sent to explore mysterious events on a space station that circles around the planet Solaris. After arriving, he finds his dead wife at the station and tries to kill her, but, as in this immense scientific fantastic classics, he returns to life again.
4. Mirror, 1975
The mirror is probably a key film in the Tarkovsky canon and as close as possible to poetry as a movie. The fragmented memories of the dying poet Alexei form this exhausted autobiographical dreamer, which intertwines the songs of Tarkovsky's father Arseny, a respected word from the Soviet era. Film kaleidoscopic approach does not offer any natural narrative preparation and combines incidents, dreams and memories, along with film footage.
5. Stalker, 1979
The second scientific fantastic film of Tarkovsky was his last work in Russia before he moved to Italy. It is based on the novel Strugatsky Brothers Roadside Picnic. In the fictional world protagonist – Stalker – he earns money by conducting illegal excursions into the dead zone. This is an area of hidden danger, which contains a space that gives visitors its deepest desires. Depending on the plot, Stalker goes to the area with a writer and a professor. The path in the desert – as much as the state of mind as the place – can be perceived in this metaphysical maze, we can not see.
6. Nostalgia, 1983
In the early eighties Tarkovsky left Russia for good. His cinematic career was re-animated in Italy, where he made a television documentary Tempo di viaggio, followed by Nostalgia, in collaboration with the renowned Italian screenwriter Tonino Guerra. In Nostalgia, a Russian writer visited Tuscany with his translator who investigated a Russian 18-year-old suicidal composer. Imagination and despair are blocked by him until he meets Domenico, the fool who persuades him to take on the task – walks a candle from one end of the spa to another – in order to "save the world".
7. Sacrifice, 1986
By the time Tarkovsky started working on his next and final film, he knew he was seriously ill with cancer. Swedish production, The Sacrifice is an allegory of self-sacrifice, in which the man played by Erland Josephson gives up everything he has to prevent a nuclear catastrophe. The use of Josephson and cameraman Sven Nykvist, who were best known for collaborating with Ingrom Bergman, illustrate the influence of the Swedish director, one of the few directors whom Tarkovsky truly admired.
Read more: 4 reasons to see Loveless Andrei Zvyagintsev
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