Praying Through Cinema – Understanding Andrei Tarkovsky

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This video is brought to you by CuriosityStream,
if you sign up using the link in the description, you’ll also get access to Nebula,
a new streaming platform that I am a part of, but more on that at the end. Somewhere in Moscow, a precocious violinist becomes enamored with a steamroller. The driver finds respite in the young boy’s
musical talent. A brief friendship develops, until external circumstances force them back unto their own paths. After all, they both have to do what they must.
And yet, they can dream. This is the steamroller and the violin,
the 1961 graduation film of Andrei Tarkovsky. Besides giving us a unique look into Soviet culture, it also paved the way for his first feature film
Ivan’s Childhood; a story about an orphan who,
during the Second World War, serves in the army as a scout where he befriends
three Soviet officers. We already see some recurring elements here; like the contrast between moments of blissful beauty and harsh realities, the motif of mirrors and reflections,
and the portrayal of dreams and memories. For Tarkovsky, Ivan’s Childhood was a test to see whether or not he had it in him to be a film director. This wasn’t because he questioned
his technical capabilities, but because he wondered if cinema was the
right vehicle to achieve his aspirations. He believed that, before getting into the
particulars of any artistic endeavor, one first has to define the purpose of art
in general. Why does it even exist? Who is it for? Take music, for instance. It is connected to reality less than anything else, or if connected at all, it’s done mechanically, not by way of ideas, just by a sheer sound,
devoid of any associations. And yet, music, as if by some kind of miracle,
gets through to our heart. What is it that resonates in us in response to noise brought to harmony, making it the source of the greatest delight? Which stuns us and brings us together? What is its purpose? And most importantly,
who needs it? There’s an intangible quality to being human; a potential for deep emotional experiences
which cannot be grasped through logic or reason, which cannot even be truly described in words,
but which can be felt intuitively, intimately. It is in this both obvious as well as elusive
aspect of the human condition, that Tarkovsky saw something transcendental; something that can only be captured through art. “It appears as a revelation,”
– he wrote in his book Sculpting in Time – “as a momentary, passionate wish to grasp intuitively
and at a stroke all the laws of this world – its beauty and ugliness, its compassion
and cruelty, its infinity and its limitations.” In this sense, art comes much closer to being
a spiritual experience. And its creation, an act of faith. Like a prayer. This we see in Andrei Rublev, Tarkovsky’s film about one of the greatest medieval Russian painters, in which the main character’s spirituality is directly connected to his creative passion, and where the loss of one also means
the loss of the other. We have to use our time on earth to improve
ourselves spiritually. This means that art must serve this purpose. Tarkovsky used his artistic medium in a similar way, he wasn’t just making films, he was
exploring our world in search for understanding, for a meaning to our existence. In a way, he was praying through cinema. He answered the timeless and insatiable longing to connect to the world, to have a reflection, or rather; an affirmation of our innermost being. Science? Nonsense. In this situation, mediocrity and genius are equally useless. We have no interest in conquering any cosmos. We don’t know what to do with other worlds. We don’t need other worlds. We need a mirror. If we had a mirror reflecting our deepest self, what would it reveal? It was clear to Tarkovsky that we wouldn’t see our experiences as a linear sequence of events, captured objectively and logically into
what could be a plot. Instead, we would see a complex web of thoughts, memories and emotions. We would see a being that experiences the world subjectively, gives shape to it subjectively. That moves through the present and observes each new moment with a consciousness made up of infinite impressions, distortions
and associations. Solaris was a particularly interesting exercise
in this regard as it tells the story of a man sent to a distant space station to study
a mysterious, seemingly sentient ocean which can peer into people’s minds
and manifest what’s inside. Who was it? She died 10 years ago. What you saw was the materialization of your
conception of her. It probed our minds and extracted something like islands of memory. Tarkovsky however, considers Solaris to be
one of his lesser films as he felt too restricted by working
within a specific genre. It might be why for his next project, he didn’t use any science-fiction elements to create an external representation of our inner being. Instead, he placed the camera directly inside, filmed as if we are directly witnessing a
man’s interior landscape, and created The Mirror. When I recall my childhood and my mother, somehow she always has your face. It perfectly showcases the unique quality of cinema, how it is capable of sculpting time according to our subjective experience of the world, and of our lives. Tarkovsky’s other films, like Nostalgia, which is about a Russian poet travelling to Italy where he
becomes nostalgic about his homeland, also use these techniques to capture how we in
one moment might be observing something immediate in front of us, and be transported to a distant
memory in the next. It shows both the hectic movement of our minds, constantly wandering, recollecting, imagining, and its moments of stillness, of concentrated focus, of listening to sounds slowly turn into rhythm. In this sense, cinema articulates the relation
between time and the individual, how our minds merge the past and present into
one plane of existence in which time is simultaneously compressed, stretched and rearranged. It reflects how we are indeed islands of memory. Time is said to be irreversible. And this is true enough in the sense that ‘you can’t bring back the past’, as they say. But what exactly is this ‘past? Is it what has passed? And what does ‘passed’ mean for a person when
for each of us the past is the bearer of all that is constant in the reality of the present,
of each current moment? In a certain sense the past is far more real, or at any rate
more stable, more resilient than the present. The present slips and vanishes like sand
between fingers, acquiring material weight only in its recollection. The role of the director also becomes apparent here, for how does one effectively capture what
cannot be directly observed? How to organize that which defies time as
a linear concept? How to construct that which seems to break the rules of our material reality? In their effort to create a meaningful reflection of who we are, of our histories, and of our dreams, directors must navigate the infinitely complex nature
of our being, explore its vastness in both time and space, and find a way to make it not only comprehensible, but also relatable, recognizable. After all, a mirror is only as effective as it revealing. Tarkovsky believed that to succeed in
this seemingly impossible task, directors must work with striking imagery, with that which signifies the distinctively human. Take for example how Tarkovsky shows despair through a woman who watches a burning house, while sitting on a well. Or how he shows our connection to home through a man going to a hotel bathroom and reaching for the light on the wrong side of the wall. To create images such as these, images that capture deeper emotional truths,
directors best trust their own heart, follow their own instinct; and hope that if something resonated with them on a personal level, if something left an impression, however intangible, unexplainable, it will do the same for others. It is the reason why so many of Tarkovsky’s films
are directly based on his own experiences, and include elements that are deeply personal to him. The Mirror is probably best known
for almost being autobiographical, but his other films too are filled with moments inspired by childhood memories, artistic introspection,
the poems of his father; all the things that invoked some kind of emotion
in Tarkovsky; a feeling he is now trying to translate
and communicate to us. Do you remember when I felt sick
and went to room 38 to rest? This room astonished me
since the window wasn’t facing the street. It was a very strange, mysterious place, like
a hospital, maybe. A place where one could only feel very bad. I thought we should make
a scene here, in this room, about our character, in the moment of crisis. In a way, the director becomes like a composer, driven by emotional intuition, and using an
internal compass to organize sound into music, into a symphony that transcends
the boundaries of noise, that becomes something more, something that resonates and moves deeper
than words can explain: a true mirror to the lyrical sensitivity in our hearts, the poetic essence of who we are. Now summer is gone
And might never have been. In the sunshine it’s warm.
But there has to be more. It all came to pass,
All fell into my hands Like a five-petalled leaf,
But there has to be more. Nothing evil was lost,
Nothing good was in vain, All ablaze with clear light
But there has to be more. Life gathered me up
Safe under its wing, My luck always held,
But there has to be more. Not a leaf was burnt up
Not a twig ever snapped… Clean as glass is the day,
But there has to be more. Lastly, there is one final challenge to be
overcome here. For when art is used to reach some higher poetic truth, or hidden beauty, one has to believe such a thing exists in the first place. And, as Tarkovsky shows in so many of his films, this can be difficult in a world that seems
to actively discourage people to look past the immediate material reality. In Andrei Rublev, we see a world
defined by suffering and war, where the only pleasure is found in hedonistic pursuits. In The Sacrifice, our modern society and our technological progress have stripped the world of its spirituality. We have acquired a dreadful disharmony, an imbalance if you will, between our material and our spiritual development. Stalker too warns against a society that progresses materially but disconnects spiritually. Or more specifically; a society that seeks to conquer the infinite with the finite. The story is centered around a mysterious zone that is said to grant wishes, and the Stalker who guides people
into this forbidden place. For him, the zone is a place of worship, a
symbol of a higher power for those in despair. It’s the only place they can come to if
there’s no hope left for them. You’re just God’s fool. You have no idea
what’s going on here. But when seen in purely material terms, the zone also becomes a symbol of mankind trying to harness a power it isn’t equipped to handle, of a society that has become too grandiose to believe, to hope, in something greater than itself, that disregards all that which is experienced irrationally, poetically. In this world, an artist like Andrei Rublev
is unable to create. In this world, a believer like the Stalker
is rendered purposeless. My happiness, my freedom, my self-respect, it’s all here! In this world, where the material eclipses the spiritual, we are heading towards certain doom. But just as we see the spiritual, and therefore,
the drive to express oneself artistically, being tested and defeated,
so too do we see it re-ignited again. Not because of a miracle, or an act of God,
but more so because of others, because of their spirit, their works of art, which gave new life to a painter’s creative passion, and restored his grey world, into one full of color. Which gave a Stalker a new source for the miraculous. And which turned a violent ending
into an innocent new beginning. And with this, we are once again back
to the purpose of art, and the question of why people go to the cinema,
sit in a darkened room for two hours, and, as Tarkovsky put it;
watch the play of shadows on a sheet? He believed that the reason a person normally watches
films is for time lost or spent or not yet had. For cinema, like no other art, has the power to widen, enhance and concentrate a person’s experience, to make it longer,
significantly longer. It let us assimilate ourselves to the world, and to others. It inspires us to be humble, compassionate, forgiving. It gives us understanding. It gives us peace. Ultimately, he concluded, “The allotted function of art is not, as is
often assumed, to put across ideas, to propagate thoughts, to serve as example. The aim of art is to prepare a person for death, to plough and harrow his soul, rendering it capable
of turning to good. We live. We have our ups and downs. We hope. We wait for something. Finally, we die, and are born again. But we remember nothing. And everything begins again, from scratch. May everything come true. May they believe. And may they laugh at their passions. But, above all, let them believe in themselves. Let them become as helpless as children. For weakness is a great thing. Because what has hardened will never win. This has been a passion project of mine for
quite some time. I really wanted to convey Tarkovsky’s art
in the way he envisioned it; not a something to be intellectually dissected, but as something to be felt. I knew the result would be slower, more experimental than some of my other videos, which always comes with some hesitations. It is because of projects like these that I’m proud to present Nebula, a brand new collaborative project between me and many other creators that places creativity at the very center, and where your support means you’re directly supporting us. You can follow all your favorite creators,
watch our videos ad-free, and even see some exclusive Nebula originals. Now for the best part; we all know CuriosityStream, the streaming service with thousands of documentaries on science, history, nature and technology,
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100 Responses

  1. Mike Wazowski

    January 23, 2020 5:48 pm

    Are you going to insert a spanish subtitles as the other videos???. I wish it really much. This video is so interesting

    Reply
  2. DerJakoBoB

    January 23, 2020 5:50 pm

    Instant Like for every Tarkowskij video <3 my favorite is "stalker" and "nostalghia"

    What is there that is more real than dreams? A.T.

    Reply
  3. Man Theory

    January 23, 2020 5:51 pm

    Never has a suggested you tube video cause me such introspection and self doubt. I can't explain how joyous and deeply lost I feel at the same time. Your words sir that is the art that touches one's heart. If their is a loving creator may he let your voice reach us all.

    Reply
  4. Hywel Edwards-Sim

    January 23, 2020 5:51 pm

    Wonderful. Love your content. Yet another amazing video. You're probably the best film channel on YouTube.

    Reply
  5. 97AsV

    January 23, 2020 5:54 pm

    As an East European this video is a surprise, to be sure, but a welcome one! Great to see a channel that values movies from all around the world!

    Reply
  6. gr8effect

    January 23, 2020 6:09 pm

    Stalker is the best film I've ever seen. The ending sends chills down my spine and tears to my eyes. Every single time.
    Looking for a miracle in the danger zone while having one at home, (the girl) so near, is a fantastic revelation imo. Great video as always!

    Reply
  7. beshj

    January 23, 2020 6:29 pm

    Your videos always make me fell as though I transcend the human condition and gain an understanding that i miss in my daily life. Always overcome me with emotion for reasons I don't know. I love this channel, your videos make me feel whole.

    Reply
  8. Virolaxion

    January 23, 2020 6:38 pm

    Incredible. Captures exactly how I FELT watching his films. Stalker is my all time favourite, it transcends any other reading of the "purpose" of humanity I've witnessed in film. Mirror is a close second. I've yet to get round to The Sacrifice because I fear it would represent an ending. What are your thoughts on There Will be No Leave/The Killers?

    Reply
  9. John Lewis

    January 23, 2020 6:43 pm

    This video made me slow down and take it all in. Im in the U.S and are not movie buff and have never heard about this director. But at least for me I "felt" this video more than I "watched"it(hope I don't sound too weird). My heart rate dropped and I was mesmerized by his words. I would read them the first time and then rewind it and feel them. I felt like I understood them better that way. Your videos are always great but this one (maybe due to how it starts with the still images) primed me for something else. I'm gonna sit on it for a while and see if I'm taking it all in or if I'm just thinking too hard.
    Alot of words to say thank you for all that you do! And for sharing something more personal than normal.!

    Reply
  10. Mohsin R Parkar

    January 23, 2020 6:46 pm

    I finished my first viewing an hr ago, and have re watched the conclusion (19.40 onward) at least a 100 times now.. So beautifully edited and narrated… created!!
    Art from a true artist… Thank you..

    Reply
  11. praxis22

    January 23, 2020 6:46 pm

    My father took me to see Solaris when I was a boy in the 80's I've watched it a few times since. It's a good movie. I guess he was more interested in Tarkovsky than the film itself. He was a lifelong communist, somebody gave the communist salute at his funeral.

    Reply
  12. Decadent Perspective

    January 23, 2020 6:58 pm

    Andrei Rublev has to be my personal favorite. The film is such a masterpiece of cinematic iconography. War, faith, truth, lies, all in a time where everyone is miserable, old, sick, stupid, violent, weak, scared, prideful. I think the film represents the world, the truth of Christ. The bell scene, the pillaging, the silence, the fear, all come down to one thing: the love of God in a world run by devils. In a way, all of Tarkovsky’s films are about faith, memory, and sacrifice. Russian Orthodox have a word transliterated as podvig. I think this sums up Tarkovsky’s characters perfectly. His characters are the most realistic for me because everything is happening internally. In Rublev, after all the chaos you are left with the expression of the faces. In that sense, Tarkovsky sees people as witnesses of the world. We may not know how to react, in fact Tarkovsky’s characters don’t seem to react very much, but we only know how they feel: the despair, the desperation, the confusion, the anger, the love, the relief. I think Rublev is where Tarkovsky mastered his craft to the highest potential. Why? Because it had more to do with the personal as the universal. The world in Rublev is almost foreign. And I think that’s where he became most free to invest his truest take on how he sees himself as an artist, as a human being, placed into the context of the world at large. It is the truest exploration of Man’s essence, which must be spiritual. I’m not saying his other films are “worse” than Rublev. His last 3 films are about men who are dealing with a world they are or will no longer be a part of, and so all that’s left is love, sacrifice. But Rublev delves even further than apocalypse/post-apocalypse. It concerns the apocalypse of the soul itself. This is why it is a truly Christian outlook, from an Orthodox perspective. That the death of the world is no different than the death of the spirit. Rublev is the only one of his films that deals with these simultaneously, rather than separately. It reveals the connection between the sacrifice of Christ with our sacrifice. The connection can only be, and must be, love. I would go as far as to say it is the greatest film of all time.

    Reply
  13. Travis Jordan

    January 23, 2020 7:32 pm

    When execution is the penalty for defying authority, poetry may be the closest language accessible by truth, beauty & love (all of which are immaterial, in an age approaching The Reign of Quantity).

    Reply
  14. Sanada Khumanthem

    January 23, 2020 7:35 pm

    Trying to understand Tarkovsky for life, watch some of his movies but cant get it, hope this helps me

    Reply
  15. Jack Siberine

    January 23, 2020 7:36 pm

    "A man can only see as far as he himself has gone" — thank you, LSOO, for diving into your own depths so that we can learn from such wondrous explorations as these.

    Timely, too, for I believe we must understand this felt language of art and the spirit if we are to move forward both as individuals and as our collective.

    Much love!

    Reply
  16. Carlos Fandango

    January 23, 2020 7:48 pm

    I believe Terrence Malick tries to achieve the same aesthetic with the medium of film. Although being western it is easier for us to understand and 'feel'. I always think there is a layer within Tarkovsky films that I will never grasp or touch and therefore they remain slightly aloof or just out of reach.

    Reply
  17. Cinemaspire

    January 23, 2020 8:12 pm

    Ah Tarkovsky, the director every instagrammer thinks that by knowing who he is, makes them smarter than everyone else

    Reply
  18. Orest Makar

    January 23, 2020 8:22 pm

    I love the mystical poetic quality of Tarcovskys scenography. The scenes are framed in a way that combined with the surrounding ambiance connect with the wiever on a subconciouse level.

    Reply
  19. AmNotHere911

    January 23, 2020 8:51 pm

    For your next video how about exploring the ideas of Bushido using the film 'The Last Samurai' just like you used the film 'Gladiator' to teach the principles of Stoicism?

    Reply
  20. One-Two

    January 23, 2020 8:57 pm

    I am speechless. It's so great that you have taken a Russian regiesseur, maybe it will broaden people's perception of the Russian culture a bit more.
    The background music makes all the words so much impactful.

    Reply
  21. OrangeSunnSet

    January 23, 2020 10:09 pm

    Sir, you just made one of the best videos/films which speak about Tarkovsky i have ever watched .
    So many times you put the things in words i felt while watching Tarkovsky's movies and reading his words in his book/diary in all the years i know them (films, book,diary).
    Thank you for this video.

    Reply
  22. Mr. Case

    January 23, 2020 10:34 pm

    Great video as always. Have you seen Jojo Rabbit yet? I don't think I've seen any comedies on this channel and that might be a good start. If you like the movie of course.

    Reply
  23. elizabeth alexandra

    January 23, 2020 10:42 pm

    This is the most important documentary you have made thus far. Your ability to capture the same essence of the Artists you have studied is beyond beautiful. I cry as well as associate my own past that was brilliantly enriched with prayer, music, turmoil, love, art, and the unexplained.
    You have the gift of understanding our Souls. Thank you.

    Reply
  24. Nej tak

    January 23, 2020 10:57 pm

    This is your greatest work yet. I've been watching you since your video on "the grey" but nothing has inspired me as much as this has. Thank you

    Sincerely
    Your unknown friend

    Reply
  25. J L

    January 23, 2020 11:12 pm

    The thing I fear most is how this feeling I feel now will slowly diminish, subside, and disappear, only to reappear at some later date — or perhaps never. The infinite is a hard thing to keep in one's heart for long.

    Reply
  26. Mr. Tables

    January 23, 2020 11:13 pm

    I’m actually not a huge Tarkovsky fan, I love Stalker, but what few other films of his I’ve seen just don’t exactly connect with me. I feel as I grow older, I’ll definitely connect to his work a lot more in the same way it’s taken me to turn around on Malick (which is another filmmaker I’d LOVE to see you tackle), so for now, I’ll just stay optimistic for what else his work will make me feel in the future 🙂

    Reply
  27. Tee Ell Ess

    January 23, 2020 11:34 pm

    Wow! I really sense your connection to Tarkovsky–how your own prose and selection of sound & image rises to meet his. Reminds me of how Malick also creates these symphonies of the soul–nonlinear human experience made exquisitely poignant with image and sound and light. These great directors soften us in a good way–a way that actually helps us comprehend death as a win ("What has hardened will never win."). Feeling thankful!

    Reply
  28. krychick SPP

    January 23, 2020 11:42 pm

    This is my favourite project you've done. It's hard to express the range of emotions I felt watching this. Thank you for all you do. Every video you make is a treasure.

    Reply
  29. Юрий Юдин

    January 24, 2020 12:32 am

    thank you a lot for that inspirational art manifestations essay, Sculpting in Time is the best book i have ever read and reread so many times when i was a student but your essay turn back me in and i open first page to feel it again. Do more. Love from Ukraine

    Reply
  30. Julius Leviathan

    January 24, 2020 1:14 am

    I didnt expect this to touch me that much but it seems to have pressed all the right buttons to turn me into a sobbing mess hahaa… I had an art teacher that I admired infinitely and whom I had connected with on a level that couldn't have been explained with any words. He was an oddball who was shameless about his passion for art and who had a tragically beautiful perspective on life that had particularly marked me and influenced me a lot as a high schooler. I really looked up to him. One of the things he had opened up to me about was how Adrei was one of his own biggest inspirations in life, and although after having seen the movies I was left with an impression I could only describe as out of this world, I was still puzzled over a lot of things and this video cleared up a loooot, and I'm really grateful for that. The wave of understanding that hit me was prob what led me to get this emotional, and now I'm more motivated to go back and find that high school teacher and have a chat about all sorts of nonsense again sometime…

    Reply
  31. Hombre Libre

    January 24, 2020 2:11 am

    No se nada de ingles; Subtitulos por favor. Gracias Like Stories of Old por esta serie increíble de vídeos que has subido hasta la fecha y ademas por ponerles subtitulos en español y en ingles. Saludos desde Colombia.

    Reply
  32. Paul Jones

    January 24, 2020 2:15 am

    "But there has to be more." That scene has always made me weep. From the first time I saw it until this very viewing.

    Reply
  33. PossibleCinema

    January 24, 2020 2:22 am

    Ever since I`ve discovered your channel LSOO, I was anticipating the moment, when you will look closer at Tarkovsky`s genius. Thank you. A suitable homage by a suitable Source.

    Reply
  34. shailjanand jha

    January 24, 2020 2:49 am

    Its funny that you covered tarkovsky because your work makes me feel the same things that tarkovsky's work did. poetic, lyrical, incredibly profound, melancholic yet hopeful. he is my favorite film director of all time and you are my favorite film essay channel.

    Reply
  35. Dirk-Hannes van den Berg

    January 24, 2020 3:23 am

    Astounding video! Thank you! Stalker was my favorite film. Like other artworks that have changed my life, I saw it at a pivotal moment in my youth, and I feels its influence whenever I hear beautiful music, read a beautiful book, or admire a though-provoking artwork.

    Reply
  36. Hellboy

    January 24, 2020 3:26 am

    Andrei has been as much my fav as anyone can be for a decent long while now, really put the medium to good and unique use

    Reply
  37. Jiri M

    January 24, 2020 3:28 am

    There is something I went through while watching Stalker and I know it shaped my understanding of the world around me as a human being.

    Reply
  38. Eric da' MAJ

    January 24, 2020 5:28 am

    Nice. I've never heard of this guy but his vision is striking. Only one tiny nitpick. _ "…moments of blissful beauty and harsh reality."_ Beauty is as justifiably sovereign a part of reality as any ugliness. A brilliant sunrise is just as valid a manifestation of reality as watching someone get squashed by a bus.

    Reply
  39. Yamcha the wolf

    January 24, 2020 8:07 am

    The biggest genius of cinema of all time. Everyone should watch his movies, pure feeling and poetry with deep philosophy.

    Reply
  40. СОЗНАНИЕ и ПРОВИДЕНЦИАЛЬНЫЙ ЗАМЫСЕЛ ВСЕВЫШНЕГО

    January 24, 2020 8:16 am

    как сказал Гейдар Джемаль, люди естественно стремятся к пантеизму

    Reply
  41. Corinne Kelley

    January 24, 2020 9:22 am

    You did a beautiful job. You resurrected this old dream of mine that tortures me as a nightmare in its nonexistantance. I wish there was an app where one could record small moments in their lives. Then when they die, there could be a qr code on their gravestone and people could scan it and watch a random moment from this person's life. In that way, we could relive through these small moments in time replaying in the minds of others. Maybe then we could value every moment if we could share those moments with other after we are gone. Love your stuff u are an inspiration.

    Reply
  42. Человек-паук. Размышления о кино

    January 24, 2020 10:42 am

    Thank You.

    I subscribed to your channel because of an essay about Spider-Man, but now I understand that I was not mistaken. I really love Tarkovsky’s films, although in Russia he is considered a very elite director and much less appreciated than Soviet comedies.

    Reply
  43. Anita Oomen

    January 24, 2020 11:44 am

    This is poetry. Thank you! The quote at the end reminds me of a quote by John Granger where he said that the aim of stories is not entertainment, but our edification. It's always stuck with me.

    Reply
  44. Remi Grabisch

    January 24, 2020 1:05 pm

    My heart goes for 'Solaris', although I'm a bit puzzled since it's Tarkovsky's less favorite movie.

    Reply
  45. Maria Alexea

    January 24, 2020 1:50 pm

    Great analysis – to defy and overcome a linear time, the struggle of the human mind, especially of the mind of a poet. To restructure reality using time in an manner uncommon, or better, unprecedented – a manner unique yet intimate. Tarkovsky's Nostalgia is my personal favorite – being the coherent vision it is, leading to an exraorfdinary integration of the physical and the metaphysical.

    Reply
  46. Monika Müller

    January 24, 2020 3:03 pm

    I love all of his films. But when I long ago saw first „Ivan’s Kindheit“, I was hypnotized for weeks: the deep humanness and spirituality… I since then have a few of the outstanding „pictures“ in my mind. – And congratulations to your title – exactly this meets my feelings – „praying through cinema“. Thank you for the video !!

    Reply
  47. Janne Sala

    January 24, 2020 3:06 pm

    My dad showed me Stalker one day, we watched it together in the dim of evening. It was a striking movie, a visual and atmospheric feast for the senses, and it said so much with so little. My dad was very quiet too, usually he makes snarky comments on the movies we watch. Later I found out he had just been told by my mom that she wanted a divorce before we watched it.
    There's something about that raw, emotional essence of Tarkovsky's movies that made it seem almost poetic. I won't forget Stalker or Solaris easily.

    Reply
  48. Yusuf Al Sanad

    January 24, 2020 4:23 pm

    Sir Tarkovsky's "Solaris" is probably my absolute FAVORITE of his work! There's something so… profound and truly beautiful about that film, underneath the jaw-dropping gorgeous visuals. The themes/ideas the man behind the camera tackles are BEYOND fascinating and certainly… timeless, hence why I LOVE him so! ^^

    Reply
  49. Yoshen

    January 24, 2020 5:16 pm

    Please stop with the cassette tape sfx, every single video essay channel is doing it, getting a bit boring tbh. Sorry if you did it first

    Reply

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