Andrei Tarkovsky

Soviet filmmaker (1932–1986)

"Tarkovsky" redirects here. For the surname, as well as other people with this name, see Tarkovsky (surname).

Andrei Tarkovsky

Андрей Тарковский

Tarkovsky on a Russian stamp

Born|

Andrei Arsenyevich Tarkovsky

(1932-04-04)4 April 1932

Zavrazhye, Ivanovo Oblast, Russian SFSR, Soviet Union

Died| 29 December 1986(1986-12-29) (aged 54)

Paris, France

Resting place| Sainte-Geneviève-des-Bois Russian Cemetery, Paris, France
Alma mater| All-Union State Institute of Cinematography
Occupations|

* Film director
* screenwriter
* film theorist

Years active| 1958–1986
Notable work| Full list
Spouses|

Irma Raush

(m. 1957; div. 1970)​

Larisa Kizilova

(m. 1970)​

Father| Arseny Tarkovsky
Awards| List

Andrei Arsenyevich Tarkovsky (Russian: Андрей Арсеньевич Тарковский, pronounced [ɐnˈdrʲej ɐrˈsʲenʲjɪvʲɪtɕ tɐrˈkofskʲɪj] ⓘ;[1] 4 April 1932[2] – 29 December 1986) was a Soviet[a] film director and screenwriter of Russian origin.[3] He is widely considered one of the greatest directors in cinema history. His films explore spiritual and metaphysical themes and are known for their slow pacing and long takes, dreamlike visual imagery and preoccupation with nature and memory.[4][5]

Tarkovsky studied film at the All-Union State Institute of Cinematography under filmmaker Mikhail Romm and subsequently directed his first five features in the Soviet Union: Ivan's Childhood (1962), Andrei Rublev (1966), Solaris (1972), Mirror (1975), and Stalker (1979). After years of creative conflict with state film authorities, he left the country in 1979 and made his final two films—Nostalghia (1983) and The Sacrifice (1986)—abroad. In 1986, he published Sculpting in Time, a book about cinema and art. He died later that year of cancer, a condition possibly caused by the toxic locations used in the filming of Stalker.[6][unreliable source?]

Tarkovsky was the recipient of numerous accolades throughout his career, including the FIPRESCI prize, the Prize of the Ecumenical Jury and the Grand Prix Spécial du Jury at the Cannes Film Festival in addition to the Golden Lion at the Venice Film Festival for his debut film, Ivan's Childhood as well as the BAFTA Film Award for The Sacrifice. In 1990, he was posthumously awarded the Soviet Union's prestigious Lenin Prize. Three of his films—Andrei Rublev, Mirror, and Stalker—featured in Sight & Sound's 2012 poll of the 100 greatest films of all time.[7]

## Life and career

[edit]

### Childhood and early life

[edit]

Andrei Tarkovsky was born in the village of Zavrazhye in the Yuryevetsky District of the Ivanovo Industrial Oblast (modern-day Kadyysky District of the Kostroma Oblast, Russia) to the poet and translator Arseny Aleksandrovich Tarkovsky, a native of Yelysavethrad, and Maria Ivanova Vishnyakova, a graduate of the Maxim Gorky Literature Institute who later worked as a proofreader; she was born in Moscow in the Dubasov family estate.

Andrei's paternal grandfather Aleksandr Karlovich Tarkovsky (in Polish: Aleksander Karol Tarkowski) was a Polish nobleman who worked as a bank clerk. His wife Maria Danilovna Rachkovskaya was a Romanian language teacher who arrived from Iași.[8] Andrei's maternal grandmother Vera Nikolayevna Vishnyakova (née Dubasova) belonged to an old Dubasov family of Russian nobility that traces its history back to the 17th century; among her relatives was Admiral Fyodor Dubasov, a fact she had to conceal during the Soviet days. She was married to Ivan Ivanovich Vishnyakov, a native of the Kaluga Governorate who studied law at the Moscow State University and served as a judge in Kozelsk.[9][10]

According to the family legend, Tarkovsky's ancestors on his father's side were princes from the Shamkhalate of Tarki, Dagestan, although his sister, Marina Tarkovskaya, who conducted detailed research on their genealogy, called it "a myth, even a prank of sorts," stressing that no document confirms this narrative.[8]

Tarkovsky spent his childhood in Yuryevets.[11] His father left the family in 1937, subsequently volunteering for the army in 1941. He returned home in 1943, having been awarded the Order of the Red Star after being shot in one of his legs (which he would eventually need to have amputated due to gangrene).[12] Tarkovsky stayed with his mother, moving with her and his sister Marina to Moscow, where she worked as a proofreader at a printing press.

In 1939, Tarkovsky enrolled at the Moscow School No. 554. During the war, the three evacuated to Yuryevets, living with his maternal grandmother. In 1943, the family returned to Moscow. Tarkovsky continued his studies at his old school, where the poet Andrei Voznesensky was one of his classmates. He studied piano at a music school and attended classes at an art school. The family lived on Shchipok Street in the Zamoskvorechye District in Moscow. From November 1947 to spring 1948 he was in the hospital with tuberculosis. Many themes of his childhood—the evacuation, his mother and her two children, the withdrawn father, the time in the hospital—feature prominently in his film Mirror.

In his school years, Tarkovsky was a troublemaker and a poor student.[13][14] He still managed to graduate, and from 1951 to 1952 studied Arabic at the Oriental Institute in Moscow, a branch of the Academy of Sciences of the Soviet Union. He did not finish his studies and dropped out to work as a prospector for the Academy of Science Institute for Non-Ferrous Metals and Gold. He participated in a year-long research expedition to the river Kureyka near Turukhansk in the Krasnoyarsk Province. During this time in the taiga, Tarkovsky decided to study film.

### Film school student

[edit]

Upon returning from the research expedition in 1954, Tarkovsky applied at the State Institute of Cinematography (VGIK) and was admitted to the film-directing program. He was in the same class as Irma Raush (Irina) whom he married in April 1957.[15]

The early Khrushchev era offered good opportunities for young film directors. Before 1953, annual film production was low and most films were directed by veteran directors. After 1953, more films were produced, many of them by young directors. The Khrushchev Thaw relaxed Soviet social restrictions a bit and permitted a limited influx of European and North American literature, films and music. This allowed Tarkovsky to see films of the Italian neorealists, French New Wave, and of directors such as Kurosawa, Buñuel, Bergman, Bresson, Wajda (whose film Ashes and Diamonds influenced Tarkovsky) and Mizoguchi.

Tarkovsky's teacher and mentor was Mikhail Romm, who taught many film students who would later become influential film directors. In 1956, Tarkovsky directed his first student short film, The Killers, from a short story of Ernest Hemingway. The longer television film There Will Be No Leave Today followed in 1959. Both films were a collaboration between the VGIK students. Classmate Aleksandr Gordon, who married Tarkovsky's sister, in particular directed, wrote, edited, and acted in the two films with Tarkovsky.

During his third year at the VGIK, Tarkovsky met Andrei Konchalovsky. They found much in common as they liked the same film directors and shared ideas on cinema and films. In 1959, they wrote the script Antarctica – Distant Country, which was later published in the Moskovsky Komsomolets. Tarkovsky submitted the script to Lenfilm, but it was rejected. They were more successful with the script The Steamroller and the Violin, which they sold to Mosfilm. This became Tarkovsky's graduation project, earning him his diploma in 1960 and winning First Prize at the New York Student Film Festival in 1961.

### Film career in the Soviet Union

[edit]

Tarkovsky's first feature film was Ivan's Childhood in 1962. He had inherited the film from director Eduard Abalov, who had to abort the project. The film earned Tarkovsky international acclaim and won the Golden Lion award at the Venice Film Festival in the year 1962. In the same year, on 30 September, his first son Arseny (called Senka in Tarkovsky's diaries) Tarkovsky was born.

Monument to Andrei Tarkovsky at entrance of Gerasimov Institute of Cinematography

In 1965, he directed the film Andrei Rublev about the life of Andrei Rublev, the fifteenth-century Russian icon painter. Andrei Rublev was not, except for a single screening in Moscow in 1966, immediately released after completion due to problems with Soviet authorities. Tarkovsky had to cut the film several times, resulting in several different versions of varying lengths. The film was widely released in the Soviet Union in a cut version in 1971. Nevertheless, the film had a budget of more than 1 million rubles – a significant sum for that period.[16] A version of the film was presented at the Cannes Film Festival in 1969 and won the FIPRESCI prize.

He divorced his wife, Irina, in June 1970. In the same year, he married Larisa Kizilova (née Egorkina), who had been a production assistant for the film Andrei Rublev (they had been living together since 1965). Their son, Andrei Andreyevich Tarkovsky, (nicknamed Andriosha, meaning "little Andre" or "Andre Junior") was born in the same year on 7 August.[17]

In 1972, he completed Solaris, an adaptation of the novel Solaris by Stanisław Lem. He had worked on this together with screenwriter Friedrich Gorenstein as early as 1968. The film was presented at the Cannes Film Festival, won the Grand Prix Spécial du Jury, and was nominated for the Palme d'Or.

From 1973 to 1974, he shot the film Mirror, a highly autobiographical and unconventionally structured film drawing on his childhood and incorporating some of his father's poems. In this film Tarkovsky portrayed the plight of childhood affected by war. Tarkovsky had worked on the screenplay for this film since 1967, under the consecutive titles Confession, White day and A white, white day. From the beginning the film was not well received by Soviet authorities due to its content and its perceived elitist nature. Soviet authorities placed the film in the "third category", a severely limited distribution, and only allowed it to be shown in third-class cinemas and workers' clubs. Few prints were made and the film-makers received no returns. Third category films also placed the film-makers in danger of being accused of wasting public funds, which could have serious effects on their future productivity.[18] These difficulties are presumed to have made Tarkovsky play with the idea of going abroad and producing a film outside the Soviet film industry.[19]

During 1975, Tarkovsky also worked on the screenplay Hoffmanniana, about the German writer and poet E. T. A. Hoffmann. In December 1976, he directed Hamlet, his only stage play, at the Lenkom Theatre in Moscow. The main role was played by Anatoly Solonitsyn, who also acted in several of Tarkovsky's films. At the end of 1978, he also wrote the screenplay Sardor together with the writer Aleksandr Misharin.

The last film Tarkovsky completed in the Soviet Union was Stalker, inspired by the novel Roadside Picnic by the brothers Arkady and Boris Strugatsky. Tarkovsky had met the brothers first in 1971 and was in contact with them until his death in 1986. Initially he wanted to shoot a film based on their novel Dead Mountaineer's Hotel and he developed a raw script. Influenced by a discussion with Arkady Strugatsky he changed his plan and began to work on the script based on Roadside Picnic. Work on this film began in 1976. The production was mired in troubles; improper development of the negatives had ruined all the exterior shots. Tarkovsky's relationship with cinematographer Georgy Rerberg deteriorated to the point where he hired Alexander Knyazhinsky as a new first cinematographer. Furthermore, Tarkovsky had a heart attack in April 1978, resulting in further delay. The film was completed in 1979 and won the Prize of the Ecumenical Jury at the Cannes Film Festival. In a question and answer session at the Edinburgh Filmhouse on 11 February 1981, Tarkovsky trenchantly rejected suggestions that the film was either impenetrably mysterious or a political allegory.[20]

### Film career outside the Soviet Union

[edit]

During the summer of 1979, Tarkovsky traveled to Italy, where he shot the documentary Voyage in Time together with his long-time friend Tonino Guerra. Tarkovsky returned to Italy in 1980 for an extended trip, during which he and Guerra completed the script for the film Nostalghia. During this period, he took Polaroid photographs depicting his personal life.[21]

Tarkovsky returned to Italy in 1982 to start shooting Nostalghia, but Mosfilm then withdrew from the project, so he sought and received financial backing from the Italian RAI. Tarkovsky completed the film in 1983, and it was presented at the Cannes Film Festival where it won the FIPRESCI prize and the Prize of the Ecumenical Jury. Tarkovsky also shared a special prize called Grand Prix du cinéma de création with Robert Bresson. Soviet authorities lobbied to prevent the film from winning the Palme d'Or,[22] a fact that hardened Tarkovsky's resolve to never work in the Soviet Union again. After Cannes he went to London to stage and choreograph the opera Boris Godunov at the Royal Opera House under the musical direction of Claudio Abbado.

Mug shot of Andrei Tarkovsky at the Latina Refugee Camp of Latina (Italy) in 1985

At a press conference in Milan on 10 July 1984, he announced that he would never return to the Soviet Union and would remain in Western Europe. He stated, "I am not a Soviet dissident, I have no conflict with the Soviet Government," but if he returned home, he added, "I would be unemployed."[23] At that time, his son Andriosha was still in the Soviet Union and not allowed to leave the country. On 28 August 1985, Tarkovsky was processed as a Soviet Defector at a refugee camp in Latina, Italy, registered with the serial number 13225/379, and officially welcomed to the West.[24][25]

Tarkovsky spent most of 1984 preparing the film The Sacrifice. It was finally shot in 1985 in Sweden, with many of the crew being alumni from Ingmar Bergman's films, including cinematographer Sven Nykvist. Tarkovsky's vision of his film was greatly influenced by Bergman's style.

While The Sacrifice is about an apocalypse and impending death, faith, and possible redemption, in the making-of documentary Directed by Andrei Tarkovsky, in a particularly poignant scene, writer/director Michal Leszczylowski follows Tarkovsky on a walk as he expresses his sentiments on death—he claims himself to be immortal and has no fear of dying. Ironically, at the end of the year Tarkovsky was diagnosed with terminal lung cancer. In January 1986, he began treatment in Paris and was joined there by his son, Andre Jr, who was finally allowed to leave the Soviet Union. What would be Tarkovsky's final film was dedicated to him.

The Sacrifice was presented at the Cannes Film Festival and received the Grand Prix Spécial du Jury, the FIPRESCI prize and the Prize of the Ecumenical Jury. As Tarkovsky was unable to attend due to his illness, the prizes were collected by his son.

### Death

[edit]

Andrei and Larisa Tarkovsky's grave, Sainte-Geneviève-des-Bois Russian Cemetery in France

In Tarkovsky's last diary entry (15 December 1986), he wrote: "But now I have no strength left—that is the problem". The diaries are sometimes also known as Martyrology and were published posthumously in 1989 and in English in 1991.

Tarkovsky died in Paris on 29 December 1986. His funeral ceremony was held at the Alexander Nevsky Cathedral. He was buried on 3 January 1987 in the Russian Cemetery in Sainte-Geneviève-des-Bois in France. The inscription on his gravestone, which was erected in 1994, was conceived by Tarkovsky's wife, Larisa, reads: To the man who saw the Angel. Larisa died in 1998 and is buried beside her husband.[26]

Tarkovsky, his wife Larisa, and actor Anatoly Solonitsyn all died from the same type of cancer. Vladimir Sharun, a sound designer for Stalker, was convinced that all three died due to exposure to chemicals released from a chemical plant upstream from where the film was shot.[6][unreliable source?]

## Influences and thoughts on film

[edit]

Tarkovsky became a film director during the mid and late 1950s, a period referred to as the Khrushchev Thaw, during which Soviet society opened to foreign films, literature and music, among other things. This allowed Tarkovsky to see films of European, American and Japanese directors, an experience that influenced his own film making. His teacher and mentor at the film school, Mikhail Romm, allowed his students considerable freedom and emphasized the independence of the film director.

Tarkovsky was, according to fellow student Shavkat Abdusalmov, fascinated by Japanese films. He was amazed by how every character on the screen is exceptional and how everyday events such as a Samurai cutting bread with his sword are elevated to something special and put into the limelight.[27] Tarkovsky has also expressed interest in the art of Haiku and its ability to create "images in such a way that they mean nothing beyond themselves".[28]

Tarkovsky perceived that the art of cinema has only been truly mastered by very few filmmakers, stating in a 1970 interview with Naum Abramov that "they can be counted on the fingers of one hand".[29] In 1972, Tarkovsky told film historian Leonid Kozlov his ten favorite films. The list is as follows: Diary of a Country Priest and Mouchette by Robert Bresson; Winter Light, Wild Strawberries, and Persona by Ingmar Bergman; Nazarín by Luis Buñuel; City Lights by Charlie Chaplin; Ugetsu by Kenji Mizoguchi; Seven Samurai by Akira Kurosawa, and Woman in the Dunes by Hiroshi Teshigahara. He also liked Pier Paolo Pasolini's film The Gospel According to St. Matthew.[30] Among his favorite directors were Buñuel, Mizoguchi, Bergman, Bresson, Kurosawa, Michelangelo Antonioni, Jean Vigo, and Carl Theodor Dreyer.[31]

With the exception of City Lights, the list does not contain any films of the early silent era. The reason is that Tarkovsky saw film as an art as only a relatively recent phenomenon, with the early film-making forming only a prelude. The list has also no films or directors from Tarkovsky's native Soviet Union, although he rated Soviet directors such as Boris Barnet, Sergei Parajanov and Alexander Dovzhenko highly. He said of Dovzhenko's Earth: "I have lived a lot among very simple farmers and met extraordinary people. They spread calmness, had such tact, they conveyed a feeling of dignity and displayed wisdom that I have seldom come across on such a scale. Dovzhenko had obviously understood wherein the sense of life resides. [...] This trespassing of the border between nature and mankind is an ideal place for the existence of man. Dovzhenko understood this."[32]

He was also not a fan of blockbusters or science fiction, largely dismissing the latter for its "comic book" trappings and vulgar commercialism. He equally liked George Lucas's Star Wars according to his son, Andrei A. Tarkovsky.[33][34]

## Themes

[edit]

In his work, Tarkovsky explored philosophical and religious themes, such as the meaning and experience of faith, inner freedom, the soul's relation to the divine or non-material realm, and the act of artistic creation.[35][36] These themes found direct expression in his unique cinematic formal style and subject matter.

Although he considered himself to be a religious person, he refused to be narrowly defined by any one label and had little regard for the institutional church.[37]: 237 [b] Speaking about The Sacrifice, in his last interview he stated: "I don't think it's really important whether I adhere to any particular conviction or faith—heathen, Catholic, Protestant or Christian in general. What matters is the film."[36]: 10

His films evince an idiosyncratic and eclectic spirituality, drawing elements from Christian mysticism, existentialism, supernaturalism, paganism, and anthroposophy.[36][38] He was deeply influenced by the existentialist writings of Dostoevsky, and planned to make a film about the writer that was never completed.[39]: 3

Tarkovsky was vehemently critical of what he perceived to be the overly rationalistic, egoistic, decadent, and materialistic outlook of Western culture, which in his view was concerned more with monetary profit and individual self-expression than with artistic ideals like beauty, truth, and selflessness.[37]: 231–241  This critique of late modernity is embedded in his films.[40] As his diaries indicate, these perceptions were heightened during his period of exile in the West.[39]

Against this state of societal decline and spiritual impoverishment, Tarkovsky expounded an ethics of art based on a "poetic" understanding of the passions and complexities of life, one in which freedom and authentic action are possible.[41] The artist, for Tarkovsky, has a quasi-religious, ascetic duty to disavow the self in service of a higher spiritual purpose, a process mirrored by characters in films such as Andrei Rublev, Stalker, and The Sacrifice. Tarkovsky saw fragments of this artistic ideal in some Western art (notably J.S. Bach), in Eastern Orthodox Christian iconography, and, increasingly, in East Asian spiritual traditions like Taoism and Zen Buddhism—elements of which also recur in the films.[40][42] Many of his films can be viewed as expressing the dualistic conflict between these opposing worldviews of West and East.[43]

In interviews and writings, Tarkovsky frequently commented that art itself was the epitome of a religious sensibility which actively surrendered to something greater than the self:

> The one thing that mankind has ever created in a spirit of self-surrender is the artistic image. Perhaps the meaning of all human activity lies in artistic consciousness, in the pointless and selfless creative act? Perhaps our capacity to create is evidence that we ourselves were created in the image and likeness of God?

> — Sculpting in Time [37]: 241

## Cinematic style

[edit]

In a 1962 interview, Tarkovsky argued: "All art, of course, is intellectual, but for me, all the arts, and cinema even more so, must above all be emotional and act upon the heart."[44] His films are characterized by metaphysical themes, extremely long takes, and images often considered by critics to be of exceptional beauty. Recurring motifs are dreams, memory, childhood, running water accompanied by fire, rain indoors, reflections, levitation, and characters re-appearing in the foreground of long panning movements of the camera. He once said: "Juxtaposing a person with an environment that is boundless, collating him with a countless number of people passing by close to him and far away, relating a person to the whole world, that is the meaning of cinema."

Tarkovsky incorporated levitation scenes into several of his films, most notably Solaris. To him these scenes possess great power and are used for their photogenic value and magical inexplicability.[45] Water, clouds, and reflections were used by him for their surreal beauty and photogenic value, as well as their symbolism, such as waves or the forms of brooks or running water.[46] Bells and candles are also frequent symbols. These are symbols of film, sight and sound, and Tarkovsky's film frequently has themes of self-reflection.[47]

Tarkovsky developed a theory of cinema that he called "sculpting in time". By this he meant that the unique characteristic of cinema as a medium was to take our experience of time and alter it. Unedited movie footage transcribes time in real time. By using long takes and few cuts in his films, he aimed to give the viewers a sense of time passing, time lost, and the relationship of one moment in time to another.

Up to, and including, his film Mirror, Tarkovsky focused his cinematic works on exploring this theory. After Mirror, he announced that he would focus his work on exploring the dramatic unities proposed by Aristotle: a concentrated action, happening in one place, within the span of a single day.

Several of Tarkovsky's films have color or black-and-white sequences. This first occurs in the otherwise monochrome Andrei Rublev, which features a color epilogue of Rublev's authentic religious icon paintings. All of his films afterwards contain monochrome, and in Stalker's case sepia sequences, while otherwise being in color. In 1966, in an interview conducted shortly after finishing Andrei Rublev, Tarkovsky dismissed color film as a "commercial gimmick" and cast doubt on the idea that contemporary films meaningfully use color. He claimed that in everyday life one does not consciously notice colors most of the time, and that color should therefore be used in film mainly to emphasize certain moments, but not all the time, as this distracts the viewer. To him, films in color were like moving paintings or photographs, which are too beautiful to be a realistic depiction of life.[48]

Director Ingmar Bergman commented on Tarkovsky:[49]

> My discovery of Tarkovsky's first film was like a miracle. Suddenly, I found myself standing at the door of a room the keys of which had until then, never been given to me. It was a room I had always wanted to enter and where he was moving freely and fully at ease. I felt encountered and stimulated: someone was expressing what I had always wanted to say without knowing how. 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.

Contrarily, however, Bergman conceded the truth in the claim made by a critic who wrote that "with Autumn Sonata Bergman does Bergman", adding: "Tarkovsky began to make Tarkovsky films, and that Fellini began to make Fellini films [...] Buñuel nearly always made Buñuel films." This pastiche of one's own work has been derogatorily termed as "self-karaoke".[50]

### Vadim Yusov

[edit]

Tarkovsky worked in close collaboration with cinematographer Vadim Yusov from 1958 to 1972, and much of the visual style of Tarkovsky's films can be attributed to this collaboration.[51] Tarkovsky would spend two days preparing for Yusov to film a single long take, and due to the preparation, usually only a single take was needed.[52]

### Sven Nykvist

[edit]

In his last film, The Sacrifice, Tarkovsky worked with cinematographer Sven Nykvist, who had worked on many films with director Ingmar Bergman. (Nykvist was not alone: several people involved in the production had previously collaborated with Bergman, notably lead actor Erland Josephson, who had also acted for Tarkovsky in Nostalghia.) Nykvist complained that Tarkovsky would frequently look through the camera and even direct actors through it, but ultimately stated that choosing to work with Tarkovsky was one of the best choices he had ever made.[52]

## Filmography

[edit]

Main article: Andrei Tarkovsky filmography

Tarkovsky is mainly known as a film director. During his career he directed seven feature films, as well as three shorts from his time at VGIK. His features are:

* Ivan's Childhood (1962)
* Andrei Rublev (1966)
* Solaris (1972)
* Mirror (1975)
* Stalker (1979)
* Nostalghia (1983)
* The Sacrifice (1986)

He also wrote several screenplays. Furthermore, he directed the play Hamlet for the stage in Moscow, directed the opera Boris Godunov in London, and he directed a radio production of the short story Turnabout by William Faulkner. He also wrote Sculpting in Time, a book on film theory.

Tarkovsky's first feature film was Ivan's Childhood in 1962. He then directed Andrei Rublev in 1966, Solaris in 1972, Mirror in 1975 and Stalker in 1979. The documentary Voyage in Time was produced in Italy in 1982, as was Nostalghia in 1983. His last film The Sacrifice was produced in Sweden in 1986. Tarkovsky was personally involved in writing the screenplays for all his films, sometimes with a cowriter. Tarkovsky once said that a director who realizes somebody else's screenplay without being involved in it becomes a mere illustrator, resulting in dead and monotonous films.[53][54]

## Publications

[edit]

* Sculpting in Time. University of Texas Press, 1986. ISBN 0-292-77624-1.
* Time Within Time: The Diaries 1970–1986. Seagull, 1989. ISBN 9780857424921. Translated by Kitty Hunter-Blair.
* Collected Screenplays. London: Faber & Faber, 2003. ISBN 978-0571142668.
* Instant Light, Tarkovsky Polaroids. London: Thames and Hudson, 2006. ISBN 9780500286142. A book of 60 photographs taken by Tarkovsky in Russia and Italy between 1979 and 1984. Edited by Italian photographer Giovanni Chiaramonte and Tarkovsky's son Andrey A. Tarkovsky.
* Bright, bright day. Tarkovsky Foundation and White Space Gallery, 2008. A book of Polaroids edited by Stephen Gill. ISBN 978-0955739415. Edition of 3000 copies.
* Tarkovsky: Films, Stills, Polaroids & Writings. London: Thames and Hudson, 2019. ISBN 978-0500022597.

## Unproduced screenplays

[edit]

### Concentrate

[edit]

Concentrate (Концентрат, Kontsentrat) is a never-filmed 1958 screenplay by Tarkovsky. The screenplay is based on Tarkovsky's year in the taiga as a member of a research expedition, prior to his enrollment in film school.[55] It's about the leader of a geological expedition, who waits for the boat that brings back the concentrates collected by the expedition. The expedition is surrounded by mystery, and its purpose is a state secret.

Although some authors claim that the screenplay was filmed, according to Marina Tarkovskaya, Tarkovsky's sister (and wife of Aleksandr Gordon, a fellow student of Tarkovsky during his film school years) the screenplay was never filmed. Tarkovsky wrote the screenplay during his entrance examination at the State Institute of Cinematography (VGIK) in a single sitting. He earned the highest possible grade, "excellent" (отлично) for this work. In 1994, fragments of Concentrate were filmed and used in the documentary Andrei Tarkovsky's Taiga Summer by Marina Tarkovskaya and Aleksandr Gordon.[56]

### Hoffmanniana

[edit]

"Hoffmanniana"

Short story by Andrei Tarkovsky
Original title| Гофманиана
Country| USSR
Language| Russian
Publication
Media type| Screenplay
Publication date| 1976

Hoffmanniana (Гофманиана) is a never-filmed 1974 screenplay by Tarkovsky. The screenplay is based on the life and work of German author E. T. A. Hoffmann. In 1974, an acquaintance from Tallinnfilm approached Tarkovsky to write a screenplay on a German theme. Tarkovsky considered Thomas Mann and E. T. A. Hoffmann, and also thought about Ibsen's Peer Gynt. In the end Tarkovsky signed a contract for a script based on the life and work of Hoffmann. He planned to write the script during the summer of 1974 at his dacha. Writing was not without difficulty, less than a month before the deadline he had not written a single page. He finally finished the project in late 1974 and submitted the final script to Tallinnfilm in October.[57]

Although the script was well received by the officials at Tallinnfilm, it was the consensus that no one but Tarkovsky would be able to direct it. The script was sent to Goskino in February 1976, and although approval was granted for proceeding with making the film, the screenplay was never realized. In 1984, during the time of his exile in the West, Tarkovsky revisited the screenplay and made a few changes. He also considered to finally direct a film based on the screenplay but ultimately dropped this idea.[57]

## Films about Tarkovsky

[edit]

* Voyage in Time (1983): documents the travels in Italy of Andrei Tarkovsky in preparation for the making of his film Nostalghia, co-directed with Tonino Guerra.
* Tarkovsky: A Poet in the Cinema (1984): directed by Donatella Baglivo.
* Moscow Elegy (1987), a documentary/homage to Tarkovsky by Aleksandr Sokurov.[58]
* Auf der Suche nach der verlorenen Zeit (1988): Andrej Tarkowskijs Exil und Tod. Documentary directed by Ebbo Demant. Germany.
* One Day in the Life of Andrei Arsenevich (1999): French documentary film directed by Chris Marker.
* Andrey (2006): a film by Nariné Mktchyan and Arsen Azatyan about Tarkovsky visiting Armenia.[59]
* Tarkovsky: Time Within Time (2015): documentary by P. J. Letofsky.
* Andrei Tarkovsky: A Cinema Prayer (2019): a poetic documentary by Tarkovsky's son Andrei A. Tarkovsky.[60]

## Accolades

[edit]

Main article: List of awards won by Andrei Tarkovsky

Numerous awards were bestowed on Tarkovsky throughout his lifetime.

* At the Venice Film Festival, the Golden Lion of the for Ivan's Childhood
* Russian stamp, 2007At the Cannes Film Festival, the FIPRESCI prize three times,[61] the Prize of the Ecumenical Jury three times (more than any other director), the Grand Prix Spécial du Jury twice, and the Best Director award once. He was also nominated for the Palme d'Or three times.
* In 1987, the BAFTA Award for Best Foreign Language Film of the British Academy of Film and Television Arts for The Sacrifice.

Under the influence of Glasnost and Perestroika, Tarkovsky was finally recognized in the Soviet Union in the Autumn of 1986, shortly before his death, by a retrospective of his films in Moscow. After his death, an entire issue of the film magazine Iskusstvo Kino was devoted to Tarkovsky. In their obituaries, the film committee of the Council of Ministers of the Soviet Union and the Union of Soviet Film Makers expressed their sorrow that Tarkovsky had to spend the last years of his life in exile.[62]

Posthumously, he was awarded the Lenin Prize in 1990, one of the highest state honors in the Soviet Union. In 1989, the Andrei Tarkovsky Memorial Prize was established, with its first recipient being the Russian animator Yuri Norstein. In three consecutive events, the Moscow International Film Festival awarded the Andrei Tarkovsky Award in 1993, 1995, and 1997.[63][64][65]

In 1996, the Andrei Tarkovsky Museum opened in Yuryevets, his childhood town.[66] A minor planet, 3345 Tarkovskij, discovered by Soviet astronomer Lyudmila Karachkina in 1982, has been named after him.[67]

Tarkovsky has been the subject of several documentaries. Most notable is the 1988 documentary Moscow Elegy, by Russian film director Alexander Sokurov. Sokurov's own work has been heavily influenced by Tarkovsky. The film consists mostly of narration over stock footage from Tarkovsky's films. Directed by Andrei Tarkovsky is a 1988 documentary film by Michal Leszczylowski, an editor of the film The Sacrifice. Film director Chris Marker produced the television documentary One Day in the Life of Andrei Arsenevich as an homage to Andrei Tarkovsky in 2000.[68]

At the entrance to the Gerasimov Institute of Cinematography in Moscow, there is a monument that includes statues of Tarkovsky, Gennady Shpalikov and Vasily Shukshin.[69]

## Reception and legacy

[edit]

Andrei Tarkovsky and his works have received praise from many filmmakers, critics and thinkers.

The Swedish filmmaker Ingmar Bergman was quoted as saying: "Tarkovsky for me is the greatest [of us all], the one who invented a new language, true to the nature of film, as it captures life as a reflection, life as a dream".[70]

The Japanese filmmaker Akira Kurosawa remarked on Tarkovsky's films as saying: "His unusual sensitivity is both overwhelming and astounding. It almost reaches a pathological intensity. Probably there is no equal among film directors alive now." Kurosawa also commented: "I love all of Tarkovsky's films. I love his personality and all his works. Every cut from his films is a marvelous image in itself. But the finished image is nothing more than the imperfect accomplishment of his idea. His ideas are only realized in part. And he had to make do with it."[71]

The Iranian filmmaker Abbas Kiarostami remarked that: "Tarkovsky's works separate me completely from physical life, and are the most spiritual films I have seen".[71]

The Polish filmmaker Krzysztof Kieślowski commented that: "Andrei Tarkovsky was one of the greatest directors of recent years,"[71] and regarded Tarkovsky's film Ivan's Childhood as an influence on his own work.[72]

The Turkish filmmaker Nuri Bilge Ceylan said that when he first discovered the films of Andrei Tarkovsky as a college student, unsure of what he wanted to do with his life, he was utterly baffled by the lauded Soviet master. He walked out of a screening of Solaris at the halfway point, and stopped a VHS tape of Mirror at a similar juncture. Today, he considers the latter to be the greatest film ever made. "I've seen it maybe 20 times," he says.[73]

The Armenian filmmaker Sergei Parajanov remarked that watching Tarkovsky's film, Ivan's Childhood was his main inspiration to become a filmmaker by saying: "I did not know how to do anything and I would not have done anything if there had not been Ivan's Childhood".[72]

The Austrian filmmaker Michael Haneke voted for Mirror on his top 10 films in the 2002 Sight & Sound directors' poll[74][75] and later said that he has seen the picture at least 25 times.[76][77]

The American filmmaker Stan Brakhage said that: "I personally think that the three greatest tasks for film in the 20th century are (1) To make the epic, that is to tell the tales of the tribes of the world. (2) To keep it personal, because only in the eccentricities of our personal lives do we have any chances at the truth. (3) To do the dream work, that is, to illuminate the borders of the unconscious. The only filmmaker I know that does all these three things equally in every film he makes is Andrei Tarkovsky, and that's why I think he's the greatest living narrative filmmaker."[78][79]

The German filmmaker Wim Wenders dedicated his film Wings of Desire to Tarkovsky (along with François Truffaut and Yasujirō Ozu).[80]

The French filmmaker Chris Marker directed a documentary film as a homage to Tarkovsky called One Day in the Life of Andrei Arsenevich and used Tarkovsky's concept of "The Zone" (from the film, Stalker) for his 1983 film essay, Sans Soleil.[81]

The Greek filmmaker Theo Angelopoulos regarded Tarkovsky's film Stalker as one of the films that influenced him.[82]

The Polish filmmaker Andrzej Żuławski remarked that: "If anybody influenced anybody, it's me being influenced by Tarkovsky, not the reverse", and called Tarkovsky's film Andrei Rublev a "masterpiece".[83]

The Greek-Australian filmmaker Alex Proyas was "extremely influenced" by Tarkovsky's work and cited Stalker as one of his favorite films.[84]

The French philosopher Jean-Paul Sartre highly praised Tarkovsky's film Ivan's Childhood, saying that it was one of the most beautiful films he had ever seen.[85]

The Japanese anime filmmaker Mamoru Oshii, known for his works such as Ghost in the Shell, was influenced by Tarkovsky.[86]

The Indian-born British American novelist Salman Rushdie praised Tarkovsky and his work Solaris by calling it "a sci-fi masterpiece".[87]

Film historian Steven Dillon says that much of subsequent film was deeply influenced by the films of Tarkovsky.[88]

Mexican filmmaker Alejandro González Iñarritu is a huge fan of Tarkovsky. He once said in an interview: "Andrei Rublev is maybe my favorite film ever", and in another interview, he added: "I remember, the first time I saw a Tarkovsky film, I was shocked by it. I did not know what to do. I was shocked by it. I was fascinated, because suddenly I realized that film could have so many more layers to it than what I had imagined before". There are many direct references and hidden tributes to Tarkovsky's movies in Iñarritu's 2015 Oscar-winning drama The Revenant.[89]

Danish film director Lars von Trier is a fervent admirer of Tarkovsky. He dedicated his 2009 film Antichrist to him, and, while discussing it with critic David Jenkins, asked: "Have you seen Mirror? I was hypnotised! I've seen it 20 times. It's the closest thing I've got to a religion – to me he is a god".[90]

The Japanese composer Ryuichi Sakamoto was an admirer of Tarkovsky's work, describing his penultimate solo album, async as "a soundtrack for an imaginary Tarkovsky film."[91] On Tarkovsky's overall influence on his own work, Sakamoto stated, "As I've been making music and trying to go deeper and deeper, I was finally able to understand what the Tarkovsky movies are about — how symphonic they are — it's almost music. Not just the sounds — it's a symphony of moving images and sounds. They are more complex than music."[92]

### Film festival

[edit]

Two film festivals have been named in his honor:

* International Human Rights Film Festival "Stalker", named after the film held annually in Moscow and regional centres since 1995
* International Film Festival "Zerkalo" named after Andrei Tarkovsky (meaning "mirror"), "for fans of intellectual cinema";[93] also known as Tarkovsky Film festival – Zerkalo,[94] Zerkalo International Film Festival,[95] Andrei Tarkovsky Zerkalo International Film Festival,[96] Tarkovskyfest [ru] or simply Zerkalo,[97] The festival is organized by a committee headed by Mikhail Men, governor of Ivanovo Oblast. Sister of Andrei Tarkovsky, Marina Tarkovsky was one of the co-founders and organizers. From 2010 the festival was directed by Pavel Lungin.[97] In 2020, the president of the festival was Russian director Sergei Bodrov. Owing to the COVID-19 pandemic in Russia, the 14th edition was held online in 2020, and appears to be the last one held, as of 2022[update].[98] The festival awards a number of prizes, including the Special Award for Contribution to Andrei Tarkovsky's Cinema.[97][99] Held in Ivanovo since 2007,[100] the festival is held in July each year, with the 16th edition scheduled for 22–27 July, to be held in various cities in the Ivanovo region, with special screenings in Moscow. Films from France, India, Greece, Serbia, Colombia, Kazakhstan and other countries were entered into the competition, and a gala night was dedicated to Tarkovsky's 90th birthday, on the main square of his hometown of Yuryevets on 22 July.[101]

## See also

[edit]

* European art cinema
* Slow cinema
* Moscow International Film Festival

## References

[edit]

1. ^ "How to pronounce Андрей Тарковский". forvo.com.
2. ^ Андрей Степанович Плахов (11 May 2023). "Тарковский, Андрей Арсеньевич". Retrieved 3 April 2024. // Большая российская энциклопедия. Том 31. Москва, 2016, с. 674.
3. ^ Peter Rollberg (2009). Historical Dictionary of Russian and Soviet Cinema. US: Rowman & Littlefield. pp. 685–690\. ISBN 978-0-8108-6072-8.
4. ^ James, Nick (8 May 2019). "The Tarkovsky Legacy". Sight & Sound. Retrieved 11 August 2019.
5. ^ Petric, Vlada (December 1989). "Tarkovsky's Dream Imagery". Film Quarterly. 43 (2): 28–34\. doi:10.1525/fq.1989.43.2.04a00040.
6. ^ a b Tyrkin, Stas (23 March 2001). In Stalker Tarkovsky foretold Chernobyl. Nostalghia.com. Archived from the original on 22 March 2018. Retrieved 25 May 2009.
7. ^ Gray, Carmen (27 October 2015). "Where to begin with Andrei Tarkovsky". British Film Institute. Retrieved 3 September 2019.
8. ^ a b "Marina Tarkovskaya: "My brother enjoyed being a descendant of the Dagestanian princes"". interview to the Gordon Boulevard  [uk] newspaper at the Andrei Tarkovsky media archive, 2007 (in Russian).
9. ^ "Filming Eternity". Archived from the original on 18 January 2017. Retrieved 17 January 2017. interview with Tarkovsky's sister Marina Tarkovskaya, Itogy [ru] journal, 2 April 2012 (in Russian).
10. ^ "Dubasov family". from the Brockhaus and Efron Encyclopedic Dictionary, 1890–1907 (Wikisource, in Russian).
11. ^ Sipatova, Marina (2007). Тайна рода Тарковских. Moskovskij Komsomolets (in Russian). Retrieved 25 November 2007.
12. ^ Donatella Baglivo (1984). Un poeta nel Cinema: Andreij Tarkovskij [Andrei Tarkovsky: A Poet in the Cinema] (Documentary).
13. ^ Green, Peter (1993). Andrei Tarkovsky: The Winding Quest. Springer. p. 2\. ISBN 978-1349119967.
14. ^ Volkov, Solomon (2009). The Magical Chorus: A History of Russian Culture from Tolstoy to Solzhenitsyn. Vintage Books. p. 230\. ISBN 978-1400077861.
15. ^ Pleshakova, Anastasia (4 April 2007). "Тарковский был "разрешенным контрреволюционером"" [Tarkovsky was "a legal сounterrevolutionary"]. Komsomolskaya Pravda. Archived from the original on 4 January 2008. Retrieved 27 November 2007.
16. ^ "Censorship's impact on Tarkovsky's movies". latgale.academy. Retrieved 26 July 2019.
17. ^ Gianvito 2006, p. xxv.
18. ^ Marshall, Herbert. Sight and Sound. Vol 45, no 2. Spring 1976. p. 93.
19. ^ Tarkovsky, Andrei; translated by Kitty Hunter-Blair (1991). Time Within Time: The Diaries 1970-1986. Calcutta: Seagull Books. ISBN 978-81-7046-083-1.
20. ^ Stalker: Andrei Tarkovsky Talking, in Bold, Christine (ed.), Cencrastus No. 5, Summer 1981, pp. 12 & 13.
21. ^ Thomas-Mason, Lee. "Filmmaker Andrei Tarkovsky's sublime polaroid diary offers a personal glimpse into his cinematic vision". Retrieved 13 March 2020.
22. ^ Wagstaff, Peter (2004). Border crossings: mapping identities in modern Europe. Peter Lang. p. 169\. ISBN 978-3-03910-279-2.
23. ^ Goodman, Walter (20 December 1986). "Andrei Tarkovsky, Director and Soviet Emigre, Dies at 54". The New York Times. p. B8. Retrieved 19 December 2020.
24. ^ Custodero, Alberto (10 December 2015). "Latina, quei profughi dell'Est dimenticati. E spunta la scheda di Tarkovskij". La Repubblica (in Italian).
25. ^ "Campo profughi a Latina, la scheda ritrovata di Tarkovskij. Documenti, foto e testimonianze". La Repubblica (in Italian). 8 December 2015.
26. ^ "English translations of various Russian articles and interviews with family members".
27. ^ Abdusalamov, Shavkat; translated by Sergei Sossinsky (1990). Feedback Effects, in About Andrei Tarkovsky, Memoirs and Biographies. Moscow: Progress Publishers. ISBN 978-5-01-001973-0. Archived from the original on 12 June 2007. Retrieved 26 December 2007.
28. ^ Tarkovsky, Andrei. Sculpting in Time. Trans. Kitty Hunter-Blair. Austin, Texas: University of Texas Press, 2003.
29. ^ Gamble, Patrick (27 October 2015). "10 great films that inspired Andrei Tarkovsky". BFI. British Film Institute. Retrieved 20 July 2016.
30. ^ Aleksandr Lipkov; Robert Bird (1 February 1967). "The Passion According to Andrei: An Unpublished Interview with Andrei Tarkovsky". nostalghia.com. Literaturnoe obozrenie 1988, University of Chicago. pp. 74–80. Retrieved 22 March 2024. "Interviewer: "What do you think about Pasolini's Gospel according to Matthew? That's also a kind of historical film." Tarkovsky: "Of course. I like the picture. I like it precisely because its director did not succumb to the temptation of interpreting the Bible. The Bible has been interpreted for two thousand years and no one can reach unanimous agreement. So Pasolini did not set himself this task, he just left the thing in the form in which it was born. Many feel that the image of a militant cruel Christ was made up by the author of the film. Not true! Read the Gospels and you will see that this was a cruel, cantankerous, irreconcilable man. Moreover with what genius was it written! On the one hand he's God and the Church has been relying on him for two thousand years, but he succumbs to doubt in the garden of Gethsemane. What could be simpler than to call for help from his father and avoid dying on the cross, but he doesn't do this. He is all back-to-front...""
31. ^ Lasica, Tom (March 1993). "Tarkovsky's Choice". Sight and Sound. 3 (3). Archived from the original on 6 July 2009. Retrieved 25 December 2007.
32. ^ Gianvito 2006, p. 42–43.
33. ^ "Andrei Tarkovsky, Solaris and Stalker". www2.bfi.org.uk. Retrieved 27 September 2023.
34. ^ ""This is not a coincidence": Max Dax talks to Andrey A. Tarkovsky". Telekom Electronic Beats. 29 October 2013. Retrieved 27 September 2023.
35. ^ Jerzy Illg and Leonard Neuger (March 1985). "'I'm interested in the problem of inner freedom...'". Nostalghia.com. Archived from the original (Interview) on 8 October 2009. Retrieved 29 May 2025.
36. ^ a b c Schlegel, Hans-Joachim (2012). "Between Here and There: Andrey Tarkovsky's World of Pictures and Sounds". In Tarkovsky Jr., Andrey A.; Schlegel, Hans-Joachim; Schirmer, Lothar (eds.). Andrey Tarkovsky: Films, Stills, Polaroids & Writings. Munich: Schirmer/Mosel. ISBN 978-3-8296-0627-1.
37. ^ a b c Tarkovsky, Andrey (1 April 1989). Sculpting in Time. Translated by Hunter-Blair, Kitty. Austin, TX: University of Texas Press. ISBN 978-0241548653.
38. ^ "On Steiner and Anthroposophy". Nostalghia.com. August 1985. Archived from the original (Interview) on 10 June 2019. Retrieved 29 May 2025.
39. ^ a b Tarkovsky, Andrey (11 January 2002). Time Within Time: The Diaries, 1970–1986. Translated by Hunter-Blair, Kitty. London: Faber and Faber. ISBN 9780571167173.
40. ^ a b Epelboin, Annie (15 March 1986). "Andrei Tarkovsky on The Sacrifice". Nostalghia.com. Archived from the original (Interview) on 27 September 2009. Retrieved 29 May 2025.
41. ^ Sutkowska, Ewa (September 1984). "Tarkovsky in London". Nostalghia.com. Archived from the original (Interview) on 6 July 2009. Retrieved 29 May 2025.
42. ^ Martin, Seán (2014). Tsymbal, E. (ed.). "A World in a Drop of Water: Eastern Influences in the Films of Andrei Tarkovsky". The phenomenon of Andrei Tarkovsky in intellectual and artistic divine culture. Materials of the scientific and theoretical conference (June 12-14, 2013). Ivanovo: PresSto: 135–149. Retrieved 29 May 2025.
43. ^ Bachmann, Gideon (September 1984). "To Journey Within". Nostalghia.com. Archived from the original (Interview) on 8 October 2009. Retrieved 29 May 2025.
44. ^ Gianvito 2006, p. 5.
45. ^ de Brantes, Charles (20 June 1986). "La foi est la seule chose qui puisse sauver l'homme". La France Catholique (in French). Archived from the original on 4 August 2008. Retrieved 14 January 2008.
46. ^ "English Programme Booklet for The Sacrifice" (Press release). Swedish Film Institute. Archived from the original on 8 August 2007. Retrieved 14 January 2008.
47. ^ "Александр Сокуров: Тарковскому завидовали страшно, что у него такая известность" (in Russian). 2 April 2019.
48. ^ Chugunova, Maria (December 1966). "On Cinema – Interview with Tarkovsky". To the Screen. Archived from the original on 27 May 2009. Retrieved 14 January 2008.
49. ^ Bielawski, Trond Trondsen and Jan. "An Andrei Tarkovsky Information Site". nostalghia.com. Retrieved 11 March 2018.
50. ^ "Ingmar Bergman Evaluates His Fellow Filmmakers -- The "Affected" Godard, "Infantile" Hitchcock & Sublime Tarkovsky | Open Culture".
51. ^ "List of Noted Film Director And Cinematographer Collaborations: Andrei Tarkovsky Vadim Yusov". Museum of Learning.
52. ^ a b The films of Andrei Tarkovsky: a visual fugue By Vida T. Johnson, Graham Petrie, p. 79.
53. ^ Tarkovsky, Andrei (1990). "Lectures on Film Directing (notes from classes taught by Tarkovsky at the State Institute of Cinematography)". Iskusstvo Kino. Archived from the original on 4 August 2008. Retrieved 14 January 2008.
54. ^ Illg, Jerzy (1987). "Z Andriejem Tarkowskim rozmawiają Jerzy Illg, Leonard Neuger". Res Publica. 1: 137–160\. Archived from the original on 16 January 2008. Retrieved 16 January 2008.
55. ^ Turovskaya, Maya (1989). Tarkovsky: Cinema as Poetry. London: Faber and Faber. ISBN 978-0-571-14709-0. Archived from the original on 12 June 2009. Retrieved 30 December 2014.
56. ^ Blasco, Gonzalo (10 November 2003). "An Interview with Marina Tarkovskaia and Alexander Gordon". andreitarkovski.org. Archived from the original on 7 March 2018. Retrieved 14 October 2021.
57. ^ a b Tarkovsky, Andrei (1999). Powell, William (ed.). Collected Screenplays. London: Faber & Faber.
58. ^ ""Московская элегия" — Опустевший дом". Seans (in Russian). 12 June 2016. Retrieved 12 June 2016.
59. ^ "Андрей". IMDb.
60. ^ "Андрей Тарковский. Кино как молитва". nonfiction.film (in Russian). Archived from the original on 14 August 2021. Retrieved 29 June 2021.
61. ^ "Andrei Tarkovsky". fipresci.org.
62. ^ "Obituary". Literaturnaya Gazeta. 7 January 1987.
63. ^ "Moscow International Film Festival (1993)". IMDb.
64. ^ "Moscow International Film Festival (1995)". IMDb.
65. ^ "Moscow International Film Festival (1997)". IMDb.
66. ^ "Музей Андрея Тарковского". Archived from the original on 8 July 2007. Retrieved 30 November 2007.
67. ^ Schmadel, Lutz (2003). Dictionary of Minor Planet Names. Springer. ISBN 978-3-540-00238-3.
68. ^ "Significant Documentaries". Archived from the original on 6 July 2009. Retrieved 15 January 2008.
69. ^ "Panoramio - Photo of Monument to Gerasimov Institute of Cinematography famous learner - Gennady Shpalikov, Andrei Tarkovsky and Vasily Shukshin". panoramio.com. Archived from the original on 1 December 2017. Retrieved 27 November 2017.
70. ^ Title quote of 2003 Tarkovsky Festival Program, Pacific Film Archive.
71. ^ a b c Deepro Roy (9 September 2015). "16 Legendary Filmmakers Praised by Other Great Directors". Taste of Cinema. Retrieved 20 June 2021.
72. ^ a b Daly, Fergus; Katherine Waugh (21 March 2003). "Ivan's Childhood". Senses of Cinema. Retrieved 24 May 2018.
73. ^ Foundas, Scott (4 November 2014). "Nuri Bilge Ceylan on 'Winter Sleep' and Learning to Love Boring Movies". Variety. Retrieved 24 April 2022.
74. ^ "Michael Haneke". BFI Film Forever. Sight and Sound. Archived from the original on 24 June 2021. Retrieved 20 June 2021.
75. ^ "Sight & Sound Top Ten Poll 2002 The Rest of Director's List". old.bfi.org.uk. Archived from the original on 1 February 2017. Retrieved 20 June 2021.
76. ^ "Happy Haneke". The New Yorker.
77. ^ "Michael Haneke: "Art doesn't offer answers, only questions"". Salon.
78. ^ "Brakhage Pans Telluride Gold". Nostalghia.com. Retrieved 30 January 2024.
79. ^ John Gianvito (25 April 2024). "Introduction". Andrei Tarkovsky - Interviews. University Press of Mississippi. p. X. ISBN 9781578062201.
80. ^ Maria Fadeeva (5 April 2012). "Andrei Tarkovsky: The filmmaker who saw an angel". Russia Beyond. Retrieved 15 July 2021. "Even Wim Wenders, the great creator of the road movie, dedicated his "Wings of Desire" to Tarkovsky and Ozu (along with France's François Truffaut), noting that these three film producers focused "on the enduring truth, which lasted from the first scene to the last.""
81. ^ Catherine Lupton (2005). Chris Marker - Memories of the Future. Reaktion Books. ISBN 9781861892232.
82. ^ Andrew Horton (29 September 2016). "3 - Angelopoulos, the Continuous Image and Cinema". The Films of Theo Angelopoulos - A Cinema of Contemplation. Princeton University Press. p. 73\. ISBN 9781400884421. "We should realize, however, that Angelopoulos is an unusual paradox in the history of cinema: he is very clearly "Greek" as I have demonstrated, and yet he is an international filmmaker who has been influenced by filmmakers from around the globe. He has observed: "I draw techniques from everything I've seen....I continue to love...very much the films of Murnau, Mizoguchi, Antonioni. More recently: Tarkovsky's Stalker, Godard's Every Man for Himself and of course Ordet...."
83. ^ Donato Totaro. "An Interview with Andrzej Zulawski and Daniel Bird". OffScreen. Retrieved 15 September 2022.
84. ^ Jen Yamato (16 March 2009). "Five Favorite Films with Alex Proyas". Rotten Tomatoes. Fandango. Retrieved 30 August 2021.
85. ^ Sartre, Jean-Paul. "Discussion on the criticism of Ivan's Childhood". www.nostalghia.com. Archived from the original on 19 September 2009. Retrieved 13 December 2007.
86. ^ Brian Ruh (2016). Stray Dog of Anime - The Films of Mamoru Oshii. Palgrave Macmillan. ISBN 9781137437907.
87. ^ Rushdie, Salman. Step Across This Line: Collected Nonfiction 1992–2002. New York: Random House, 2002, p. 335.
88. ^ Dillon, Steven (2006). The Solaris Effect: Art and Artifice in Contemporary American Film. University of Texas Press. ISBN 978-0-292-71345-1.
89. ^ "Tarkovsky And The Revenant – Homage, And Beyond". www.goldenglobes.com. 18 February 2016. Retrieved 11 August 2021.
90. ^ "The Tarkovsky legacy | Deep focus | Sight & Sound". British Film Institute. 8 May 2019. Retrieved 4 November 2021.
91. ^ Weston, Hillary (1 June 2017). "Sonic Memories: A Conversation with Ryuichi Sakamoto". Criterion. Retrieved 30 March 2024.
92. ^ Hubert, Craig (16 July 2018). "Composer Ryuichi Sakamoto Reflects on His Life, Work, and Battle with Cancer". Hyperallergic. Retrieved 30 March 2024.
93. ^ "International Film Festival 'Zerkalo'". Russian events. 1 June 2019. Retrieved 7 September 2022.
94. ^ "Tarkovsky Film festival - Zerkalo". IMDb. Retrieved 7 September 2022.
95. ^ "The 14th Zerkalo International Film Festival Has Closed". Zerkalo. 30 June 2020. Retrieved 7 September 2022.
96. ^ Andrei Tarkovsky ZERKALO International Film Festival 2020 on YouTube 4 July 2020.
97. ^ a b c "Zerkalo". Festagent. 15 May 2019. Retrieved 7 September 2022.
98. ^ "About". Zerkalo. Retrieved 7 September 2022.
99. ^ Official website (English version).
100. ^ "Zerkalo Film Festival in Ivanovo". Russia-InfoCentre. Retrieved 7 September 2022.
101. ^ "International Tarkovsky Festival Dates Announced". News Unrolled. 29 June 2022. Retrieved 7 September 2022.

### Bibliography

[edit]

* Alexander-Garrett, Layla (2011). Andrei Tarkovsky: A Photographic Chronicle of the Making of The Sacrifice (in English and Russian). Cygnnet. ISBN 978-09-570-4160-8. Archived from the original on 12 November 2012.
* Dunne, Nathan (2008). Tarkovsky. Black Dog Publishing. ISBN 978-1-906155-04-9.
* Elmanovitš, Tatjana (1980). Ajapeegel. Andrei Tarkovski filmid (in Estonian). Eesti Raamat.
* Gianvito, John (2006). Andrei Tarkovsky: Interviews. University Press of Mississippi. ISBN 978-1-57806-220-1.
* Johnston, Vida T.; Petrie, Graham (1997). The Films of Andrei Tarkovsky: A Visual Fugue. Bloomington: Indiana Univ. Press. ISBN 978-0-253-20887-3.
* Jónsson, Gunnlaugur A.; Óttarsson, Thorkell Á. (2006). Through the Mirror: Reflections on the Films of Andrei Tarkovsky. Cambridge Scholars Press. ISBN 978-1-904303-11-4.
* Le Fanu, Mark (1987). The Cinema of Andrei Tarkovsky. British Film Institute.
* Martin, Sean (2005). Andrei Tarkovsky. Pocket Essentials. ISBN 978-1-904048-49-7.
* Schmidt, Stefan W. (2016). "Somatography and Film: Nostalgia as Haunting Memory Shown in Tarkovsky's Nostalghia." Journal of Aesthetics and Phenomenology, 3 (1): 27–41. Somatography and Film: Nostalgia as Haunting Memory Shown in Tarkovsky's Nostalghia.
* Slevin, Tom (2010). "Existence, Ethics and Death in Andrei Tarkovsky's cinema: the cultural philosophy of Solaris". Film International. 8 (2): 49–62\. doi:10.1386/fiin.8.2.49.
* Tarkovsky Jr., Andrey A.; Schlegel, Hans-Joachim; Schirmer, Lothar, eds. (2012). Andrey Tarkovsky: Films, Stills, Polaroids & Writings. Munich: Schirmer/Mosel. ISBN 978-3-8296-0627-1.
* Tarkovsky, Andrei (1989). Sculpting in Time. University of Texas Press. ISBN 978-0-292-77624-1.
* Tejeda, Carlos (2010). Andrei Tarkovski. Cátedra, Madrid. ISBN 978-84-376-2666-6.
* Turovskaya, Maya (1991). 7½ ili Filmõ Andreya Tarkovskovo (in Russian). Iskusstvo.
* "Dossier Andrei Tarkovsky". Revue NUNC. 11, 2006. Editions de Corlevour.

### Notes

[edit]

1. ^ Tarkovsky was born in the Russian SFSR, with his mother being from the Dubasov family [ru] of Russian nobility, and with mixed Polish, Romanian and Russian ancestry on his paternal side; his nationality remained Soviet throughout his life, even during his last years in exile.
2. ^ The full quote from Sculpting in Time (p. 237) runs as follows: "Not even the Church can quench man's thirst for the Absolute, for unfortunately it only exists as a kind of appendage, copying or even caricaturing the social institutions by which our everyday life is organised. Certainly in today's world which leans so heavily towards the material and the technological, the Church so far shows no sign of being able to redress the balance with a call to a spiritual awakening."

## Further reading

[edit]

* Moore, Cerwyn (2009). "Tracing the Russian Hermeneutic: Reflections on Tarkovsky's Cinematic Poetics and Global Politics". Alternatives: Global, Local, Political. 34 (1): 59–84\. doi:10.1177/030437540903400104. JSTOR 40645258. S2CID 143836755.

## External links

[edit]

Wikimedia Commons has media related to Andrey Tarkovsky.

Wikiquote has quotations related to Andrei Tarkovsky.

* Andrei Tarkovsky at IMDb
* Andrei Tarkovsky at the Swedish Film Database
* Andrei Tarkovsky at Senses of Cinema
* Website about Andrei Tarkovsky, Films, Articles, Interviews
* Andrei Tarkovsky: Biography wrestles with the filmmaker's remarkable life
* Nostalghia.com - An Andrei Tarkovsky Information Site, at Film Studies Program in the Department of Communication and Culture, University of Calgary
* A.Tarkovsky's Days in Armenia

* v
* t
* e

Andrei Tarkovsky

* Filmography
* Awards

Films|

| Student films|

* The Killers (1956)
* There Will Be No Leave Today (1959)
* The Steamroller and the Violin (1961)

|

Feature films|

* Ivan's Childhood (1962)
* Andrei Rublev (1966)
* Solaris (1972)
* Mirror (1975)
* Stalker (1979)
* Nostalghia (1983)
* The Sacrifice (1986)

Documentaries|

* Voyage in Time (1983)

Books|

* Sculpting in Time
* Time Within Time: The Diaries 1970–1986

Works about|

* Moscow Elegy
* One Day in the Life of Andrei Arsenevich
* The Films of Andrei Tarkovsky: A Visual Fugue
* Bibliography

* v
* t
* e

Cannes Film Festival Award for Best Director

1946–1975|

* René Clément (1946)
* René Clément (1949)
* Luis Buñuel (1951)
* Christian-Jaque (1952)
* Jules Dassin / Sergei Vasilyev (1955)
* Sergei Yutkevich (1956)
* Robert Bresson (1957)
* Ingmar Bergman (1958)
* François Truffaut (1959)
* Yuliya Solntseva (1961)
* Liviu Ciulei (1965)
* Sergei Yutkevich (1966)
* Ferenc Kósa (1967)
* Vojtěch Jasný / Glauber Rocha (1969)
* John Boorman (1970)
* Miklós Jancsó (1972)
* Michel Brault / Costa-Gavras (1975)

1976–2000|

* Ettore Scola (1976)
* Nagisa Ōshima (1978)
* Terrence Malick (1979)
* Werner Herzog (1982)
* Robert Bresson / Andrei Tarkovsky (1983)
* Bertrand Tavernier (1984)
* André Téchiné (1985)
* Martin Scorsese (1986)
* Wim Wenders (1987)
* Fernando Solanas (1988)
* Emir Kusturica (1989)
* Pavel Lungin (1990)
* Joel Coen (1991)
* Robert Altman (1992)
* Mike Leigh (1993)
* Nanni Moretti (1994)
* Mathieu Kassovitz (1995)
* Joel Coen (1996)
* Wong Kar-wai (1997)
* John Boorman (1998)
* Pedro Almodóvar (1999)
* Edward Yang (2000)

2001–present|

* Joel Coen / David Lynch (2001)
* Paul Thomas Anderson / Im Kwon-taek (2002)
* Gus Van Sant (2003)
* Tony Gatlif (2004)
* Michael Haneke (2005)
* Alejandro González Iñárritu (2006)
* Julian Schnabel (2007)
* Nuri Bilge Ceylan (2008)
* Brillante Mendoza (2009)
* Mathieu Amalric (2010)
* Nicolas Winding Refn (2011)
* Carlos Reygadas (2012)
* Amat Escalante (2013)
* Bennett Miller (2014)
* Hou Hsiao-hsien (2015)
* Olivier Assayas / Cristian Mungiu (2016)
* Sofia Coppola (2017)
* Paweł Pawlikowski (2018)
* Dardenne brothers (2019)
* Leos Carax (2021)
* Park Chan-wook (2022)
* Tran Anh Hung (2023)
* Miguel Gomes (2024)
* Kleber Mendonça Filho (2025)

* v
* t
* e

Modernism

Movements|

* Acmeism
* Art Deco
* Art Nouveau
* Ashcan School
* Constructivism
* Cubism
* Dada
* Expressionism
* Der Blaue Reiter
* Die Brücke
* Music
* Fauvism
* Functionalism
* Bauhaus
* Futurism
* Imagism
* Lettrism
* Neoplasticism
* De Stijl
* Orphism
* Surrealism
* Symbolism
* Synchromism
* Tonalism

Literary arts|

| Literature|

* Apollinaire
* Barnes
* Beckett
* Bely
* Breton
* Broch
* Bulgakov
* Chekhov
* Conrad
* Döblin
* Forster
* Faulkner
* Flaubert
* Ford
* Gide
* Hamsun
* Hašek
* Hemingway
* Hesse
* Joyce
* Kafka
* Koestler
* Lawrence
* Mann
* Mansfield
* Marinetti
* Musil
* Dos Passos
* Platonov
* Porter
* Proust
* Stein
* Svevo
* Unamuno
* Woolf

|

Poetry|

* Akhmatova
* Aldington
* Auden
* Cendrars
* Crane
* H.D.
* Desnos
* Eliot
* Éluard
* Elytis
* George
* Jacob
* Lorca
* Lowell (Amy)
* Lowell (Robert)
* Mallarmé
* Moore
* Owen
* Pessoa
* Pound
* Rilke
* Seferis
* Stevens
* Thomas
* Tzara
* Valéry
* Williams
* Yeats

Works|

* In Search of Lost Time (1913–1927)
* The Metamorphosis (1915)
* Ulysses (1922)
* The Waste Land (1922)
* The Magic Mountain (1924)
* Mrs Dalloway (1925)
* The Sun Also Rises (1926)
* The Master and Margarita (1928–1940)
* The Sound and the Fury (1929)

Visual arts|

| Painting|

* Albers
* Arp
* Balthus
* Bellows
* Boccioni
* Bonnard
* Brâncuși
* Braque
* Calder
* Cassatt
* Cézanne
* Chagall
* Chirico
* Claudel
* Dalí
* Degas
* Delaunay
* Delaunay
* Demuth
* Dix
* Doesburg
* Duchamp
* Dufy
* Ensor
* Ernst
* Gauguin
* Giacometti
* Goncharova
* Gris
* Grosz
* Höch
* Hopper
* Kahlo
* Kandinsky
* Kirchner
* Klee
* Kokoschka
* Kooning
* Léger
* Magritte
* Malevich
* Manet
* Marc
* Matisse
* Metzinger
* Miró
* Modigliani
* Mondrian
* Monet
* Moore
* Munch
* Nolde
* O'Keeffe
* Picabia
* Picasso
* Pissarro
* Ray
* Redon
* Renoir
* Rodin
* Rousseau
* Schiele
* Seurat
* Signac
* Sisley
* Soutine
* Steichen
* Stieglitz
* Toulouse-Lautrec
* Van Gogh
* Vuillard
* Wood

|

Film|

* Akerman
* Aldrich
* Antonioni
* Avery
* Bergman
* Bresson
* Buñuel
* Carné
* Cassavetes
* Chaplin
* Clair
* Cocteau
* Dassin
* Deren
* Dovzhenko
* Dreyer
* Edwards
* Eisenstein
* Epstein
* Fassbinder
* Fellini
* Flaherty
* Ford
* Fuller
* Gance
* Godard
* Hitchcock
* Hubley
* Jones
* Keaton
* Kubrick
* Kuleshov
* Kurosawa
* Lang
* Losey
* Lupino
* Lye
* Marker
* Minnelli
* Murnau
* Ozu
* Pabst
* Pudovkin
* Ray (Nicholas)
* Ray (Satyajit)
* Resnais
* Renoir
* Richardson
* Rossellini
* Sirk
* Sjöström
* Sternberg
* Tarkovsky
* Tati
* Trnka
* Truffaut
* Varda
* Vertov
* Vigo
* Welles
* Wiene
* Wood

Architecture|

* Breuer
* Bunshaft
* Gaudí
* Gropius
* Guimard
* Horta
* Hundertwasser
* Johnson
* Kahn
* Le Corbusier
* Loos
* Melnikov
* Mendelsohn
* Mies
* Nervi
* Neutra
* Niemeyer
* Rietveld
* Saarinen
* Steiner
* Sullivan
* Tatlin
* Wright

Works|

* A Sunday Afternoon on the Island of La Grande Jatte (1886)
* Mont Sainte-Victoir (1887)
* The Starry Night (1889)
* Les Demoiselles d'Avignon (1907)
* The Dance (1909–1910)
* Nude Descending a Staircase, No. 2 (1912)
* Black Square (1915)
* The Cabinet of Dr. Caligari (1920)
* Ballet Mécanique (1923)
* Battleship Potemkin (1925)
* Metropolis (1927)
* Un Chien Andalou (1929)
* Villa Savoye (1931)
* Fallingwater (1936)
* Citizen Kane (1941)
* Meshes of the Afternoon (1943)

Performing
arts|

| Music|

* Antheil
* Bartók
* Berg
* Berio
* Boulanger
* Boulez
* Copland
* Debussy
* Dutilleux
* Falla
* Feldman
* Górecki
* Hindemith
* Honegger
* Ives
* Janáček
* Ligeti
* Lutosławski
* Milhaud
* Nono
* Partch
* Russolo
* Satie
* Schaeffer
* Schoenberg
* Scriabin
* Stockhausen
* Strauss
* Stravinsky
* Szymanowski
* Varèse
* Villa-Lobos
* Webern
* Weill

|

Theatre|

* Anderson
* Anouilh
* Artaud
* Beckett
* Brecht
* Chekhov
* Ibsen
* Jarry
* Kaiser
* Maeterlinck
* Mayakovsky
* O'Casey
* O'Neill
* Osborne
* Pirandello
* Piscator
* Strindberg
* Toller
* Wedekind
* Wilder
* Witkiewicz

Dance|

* Balanchine
* Cunningham
* Diaghilev
* Duncan
* Fokine
* Fuller
* Graham
* Holm
* Laban
* Massine
* Nijinsky
* Shawn
* Sokolow
* St. Denis
* Tamiris
* Wiesenthal
* Wigman

Works|

* Don Juan (1888)
* Ubu Roi (1896)
* Verklärte Nacht (1899)
* Pelléas et Mélisande (1902)
* Salome (1905)
* The Firebird (1910)
* Afternoon of a Faun (1912)
* The Rite of Spring (1913)
* Fountain (1917)
* Six Characters in Search of an Author (1921)
* The Threepenny Opera (1928)
* Waiting for Godot (1953)

Related|

* American modernism
* Armory Show
* Avant-garde
* Ballets Russes
* Bloomsbury Group
* Buddhist modernism
* Classical Hollywood cinema
* Degenerate art
* Ecomodernism
* Experimental film
* Film noir
* Fin de siècle
* Fourth dimension in art
* Fourth dimension in literature
* Grosvenor School of Modern Art
* Hanshinkan Modernism
* High modernism
* Hippie modernism
* Impressionism
* Music
* Literature
* Post-
* Incoherents
* International Style
* Late modernism
* Late modernity
* List of art movements
* List of avant-garde artists
* List of modernist poets
* Maximalism
* Metamodernism
* Modernity
* Neo-primitivism
* Neo-romanticism
* New Hollywood
* New Objectivity
* Poetic realism
* Pop Art
* Pulp noir
* Reactionary modernism
* Remodernism
* Second Viennese School
* Structural film
* Underground film
* Vulgar modernism

← Romanticism

Postmodernism →

Category

Authority control databases

International|

* ISNI
* VIAF
* FAST
* WorldCat

National|

* Germany
* United States
* France
* BnF data
* Japan
* Italy
* Australia
* Czech Republic
* Russia
* Spain
* Netherlands
* Norway
* Latvia
* Croatia
* Chile
* Greece
* 2
* Korea
* Sweden
* Poland
* Israel
* Finland
* Catalonia
* Belgium

Academics|

* CiNii

Artists|

* ULAN
* MusicBrainz
* RKD Artists
* FID

People|

* Trove
* Deutsche Biographie
* DDB

Other|

* IdRef
* SNAC

*[m.]: married
*[div.]: divorced
*[v]: View this template
*[t]: Discuss this template
*[e]: Edit this template