Tarkovsky goes for the great white whale of politicised art - no less than a history of his country in this century - and succeeds.

LAST CHANCE! Thu, Feb 25


A senses-ravishing odyssey through the halls of time and memory, Andrei Tarkovsky’s sublime reflection on 20th century Russian history is as much a film as it is a poem composed in images, as much a work of cinema as it is a hypnagogic hallucination. In a richly textured collage of varying film stocks and newsreel footage, the recollections of a dying poet flash before our eyes, dreams mingling with scenes of childhood, wartime, and marriage, all imbued with the mystic power of a trance. Largely dismissed by Soviet critics upon its release due to its elusive narrative structure, Mirror has since taken its place as one of the titan director’s most renowned and influential works, a stunning personal statement from an artist transmitting his innermost thoughts and feelings directly from psyche to screen.
Not Rated
Andrei Tarkovsky
Anthony Lane, New Yorker

Although the reputation of Andrei Tarkovsky, twenty-two years after his death, remains secure, his admirers are understandably divided. For every viewer who rejoices in the historical glories of “Andrei Rublev,” there is another who will veer toward the apocalyptic grandeur of his later works, like ...

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