Andrei Tarkovsky — the man who sculpted in time, “the one who invented a new language, true to the nature of film, as it captures life as a reflection, life as a dream” — was born on this day in 1932.
The longer I work in cinema the more convinced I am that this domain of art is not ruled by any laws. I do not even attempt to find them… Everything is possible. —Andrei Tarkovsky
The essential documentaries on Andrei Tarkovsky, including Directed by Andrei Tarkovsky (1988), Donatella Baglivo’s Andrei Tarkovsky in Nostalghia (1984), One Day in the Life of Andrei Arsenevitch (2001), Andrei Tarkovsky: A Poet in the Cinema (1983), Voyage in Time (1983), Andrei Tarkovsky & Sergei Parajanov: Islands (1987), Tarkovsky Interruptus (2012), Andrei Tarkovsky interview (1986, RTB, sinkronizirano na srpskom), and a bonus: Tarkovsky’s very first films; two student films, 1956-1960.
During the shooting of Andrei Tarkovsky’s last film Offret, cameraman Arne Carlsson taped around 50 hours of behind the scenes footage. Editor Michal Leszczylowski took the material and added scenes of previous interviews and interesting statements from the script of Offret and from Tarkovsky’s book ‘Sculpting in Time’. The result is a documentary that shows the way Tarkovksy worked: carefully building each scene. Shows why he did the things he did: his vision on film. And shows the emotion of the man Tarkovsky: his great disappointment when the camera breaks while shooting the house going up in flames.
Donatella Baglivo’s Andrei Tarkovsky in Nostalghia is a fascinating and insightful rare documentary on Andrei Tarkovsky during the filming of Nostalghia. The documentary includes interviews with the master filmmaker, crew, and cast. “What is a film,” Tarkovsky asks himself and answers, “It’s a mosaic made of time.” Within these 90+ minutes lies an artist at work, what goes behind the process and his creative thought, how he directs his mise-en-scène and collaborators, but most importantly, it captures a time in the life of a great filmmaker whose idea of cinema was precisely that, to capture and sculpt time.
Chris Marker’s One Day in the Life of Andrei Arsenevitch is perhaps the best film yet made by one (great) film-maker about another. A revelatory document, loving, lucid and lyrical, on the elemental structuring of Tarkovsky’s work, it marries moving footage of the terminally ill director shooting and struggling to finish his final film The Sacrifice with an exemplary assessment of the films and their importance, humane, humble and always open. In its own essential way, it too is a masterpiece. —Gareth Evans
One Day in the Life of Andrei Arsenevitch is just about the best analysis you will find of Andrei Tarkovsky’s film style. In this exceptional film Chris Marker, in his stylistic video essay format, parallels the life of Russia’s most talented director, Andrei Tarkovskij, with his most recognized films. He points out that in the first scene of Tarkovskij’s first film a boy is standing at the foot of a live tree, and in his last film a man is lying at the foot of a dying tree. He points out how this symbolizes the great circle of Tarkovskij’s life which was encompassed within his films. I feel that this metaphor best puts the film, and the life and works of Tarkovskij into perspective. Marker is second to none when it comes to interpreting film. He helps explain many of the obscurities found within Andrei’s films perfectly, helping you realize something that you may have missed watching them the first time around.
Simultaneously, he describes the life and mind of Tarkovskij; discussing how the great director thought and was involved in every aspect of the making of his films. Marker was granted complete access to the set of Tarkovskij’s final film, “The Sacrifice”, and the room in which the greatest Russian director of all time lay on his deathbed. This is some of the greatest footage of Andrei ever taken, and is a MUST see for all of his fans. In the footage in which Tarkovskij is editing this, his final film, from his hospital bed, Marker succeeds in showing how the frail man was able to keep up his and the spirits of others, despite the obvious fate that would soon follow. Tarkovskij would die before this film was released. Thus Marker was given the privilege of creating a final testament on the life and work of one of, if not the, greatest director’s in the history of cinema; and i couldn’t imagine anyone doing a better job. Rest in Peace Andrei, the world is a much bleaker place without you, but you will NEVER be forgotten!
Rare extensive interview with master director Andrei Tarkovsky conducted in 1983 by Donatella Baglivo.
Just like the Russian poet of the film 1983 Nosthalgia, who — accompanied by his Italian guide and translator — traveled through Italy researching the life of an 18th century Russian composer, Andrei Tarkovsky, accompanied by his Italian scriptwriter, Tonino Guerra, travels through Italy in order to find the locations for their common filmed effort. During this journey, Guerra constantly induces Tarkovskyi to reflect on his work and on his past as a filmmaker and a poet. The result will be Nostalghia, a masterpiece.
A short documentary film on the lives of two Russian filmmakers, their friendship and their artistry, with abundant footage of their works. It is stunning to see how close Andrei Tarkovsky and Sergei Parajanov were to their friendship, how two artists can be like brothers. Furthermore, it is revealing to see how much they fought for their art against a government that tried to constrain their visions. A wonderful window to these two filmmakers.
An evening screening and discussion of Andrei Tarkovsky’s 1979 film Stalker, with writers Geoff Dyer, Phillip Lopate, and Francine Prose; master film and sound editor Walter Murch; spaceprobe photo curator, filmmaker, and writer Michael Benson; and Slate film critic Dana Stevens; introduced by New York Institute for the Humanities director Lawrence Weschler. On the occasion of the publication of the novelist-essayist Geoff Dyer’s latest digressive interpretive rhapsody, Zona: A Book About a Film About a Journey to a Room, the New York Institute for the Humanities, in conjunction with the Illustration Department at Parsons The New School for Design, presented a screening of the film in question, the legendary Soviet master Andrei Tarkovsky’s 1979 masterpiece Stalker, introduced by Mr. Dyer, but then interrupted, every half hour or so, by a conversation among a distinguished panel of Tarkovsky fanatics.
Intervju koji je Tarkovski dao za RTB 1986. godine. Sinkronizirano na srpskom. Usput, pozdrav svim posjetiteljima bloga iz Hrvatske, Srbije, BiH, Makedonije, Slovenije…
Andrei Tarkovsky’s Very First Films: Three Student Films, 1956-1960.
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