A retired actor and his family find themselves on a remote Baltic island when word arrives of nuclear war in Tarkovsky’s elegiac final film, shot in Sweden by the great Sven Nykvist.
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A writer, a scientist, and their “stalker” guide venture into a mysterious wasteland known as the Zone. “A dense, complex, often contradictory, and endlessly pliable allegory about human consciousness” (Slant).
Tarkovsky’s breathtaking journey through the ruined but magical spaces of Tuscany follows a Russian man who feels the longing for home, closure, and the absolute that the film’s title describes. “Not so much a movie as a place to inhabit for two hours” (J. Hoberman).
Tarkovsky’s most autobiographical work, a collection of memories of a young boy coming of age, invented “a new language, true to the nature of film . . . life as a dream” (Ingmar Bergman).
In Tarkovsky’s influential 1972 masterwork, based on a famous novel by Stanislaw Lem, “the alien world is one immense ocean, the ocean is a brain, and the brain may be our own” (Village Voice).
Tarkovsky’s epic, otherworldly portrait of the fifteenth-century Russian icon painter is “a superproduction gone ideologically berserk” (Village Voice). “The best arthouse film of all time” (The Guardian).
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Lyrical and brutal by turns, Tarkovsky’s first feature tells of a child’s experiences during World War II. “Tarkovsky would go on to make grander, weightier, more iconic films, but it’s tough to argue he ever made a better one” (Time Out).