Andrei Tarkovsky: Voyages in Time

June 20–August 29, 2025

Andrei Tarkovsky (1932–1986) directed an impressive body of work that continues to be celebrated today for its visual power and poetic resonance. There is no better way to experience Tarkovsky’s cinema than theatrically, since scale and sound design are so essential to his films.

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Andrei Tarkovsky: Stalker (1979)
Andrei Tarkovsky: Andrei Rublev (1966)
Andrei Tarkovsky: Mirror (1975)
Andrei Tarkovsky: The Sacrifice (1986)
Andrei Tarkovsky: Solaris (1972)

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Andrei Tarkovsky: Voyages in Time

June 20–August 29, 2025

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“Tarkovsky is for me the greatest, the one who invented a new language, true to the nature of film, as it captures life as a reflection, life as a dream.” —Ingmar Bergman

Andrei Tarkovsky (1932–1986) directed an impressive body of work that continues to be celebrated today for its visual power and poetic resonance. The son of prominent poet Arseny Tarkovsky (1907–1989), he turned to cinema to capture the “unspoken elusiveness” of feeling and dreams. Tarkovsky explored both historical and twentieth-century periods of Russian and Soviet life with an interest in spiritual and metaphysical concerns. His films often foreground elements of the natural world to carry the emotional expression of the vision of his inner world. Tarkovsky eschewed traditional narrative and dialogue-based storytelling techniques, opting instead for an image-based approach to cinematic time through the use of long takes. It is through the unfolding of time and space that the richness of Tarkovsky’s cinema reveals itself.

From his award-winning student film, The Steamroller and the Violin, which he cowrote with Andrei Konchalovsky, a fellow student at VGIK All-Union State University of Cinematography, to his debut feature, Ivan’s Childhood, which received the Golden Lion at the Venice Film Festival, each successive film was met with critical acclaim abroad, though Tarkovsky experienced censorship and interference by the Soviet authorities. Ultimately, he fled the Soviet Union in 1984 to live and work in Europe on what would be his final two films, Nostalghia and The Sacrifice.

—Susan Oxtoby, Director of Film and Senior Film Curator

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