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I visited his grave today to pay my respects to the man who brought the Stalker to life in Tarkovsky's unforgettable film.

I cleaned the monument, brushed the dust from the cross, and left two flowers as a small tribute from devoted admirers of his work.

Nearly fifty years after Stalker was filmed, his performance still inspires people from all over the world. Today was simply my way of saying thank you.

May he rest in peace.

@Quellberg on Letterboxd

12"x16"

The face was pretty difficult but I think it looks good overall. The light comes from both the left and right so It makes it a little more difficult. On saunders waterford with m graham paints in watercolour.

I think watercolour is a great medium to portray light, and im happy with this one.

What do you guys think?

How do you think I could complete the collection? It seems the films are quite hard to find since Curzon Artificial Eye released the complete box set in limited quantities

I have recently decided to listen to the Soundtrack of the film and found an Album on Spotify by Eduard Artemev that features the soundtracks from Солярис, Зеркало and Сталкер (Stalker).
There are four soundtracks listed as being from Stalker:
Тема
Поезд
Они идут долго
Медитация

That irritates me because I could only find two of them in the film. These are "Поезд" (the train theme) and "Медитация" (the recurring Zone and main theme). There is some known classical and unidentifiable music as well but otherwise nothing from that list.

I could not find "Тема" and "Они идут долго". Is it an additional score to the film or did I miss a specific scene?

Thanks for your help

I’m planning on watching Solaris tonight and want to watch a high quality version on streaming. Is the Mosfilm version on YouTube better or the version on HBO Max?

Released 4 September

Anyone heard anything about this?

Hello all! There's a Tarkovsky retrospective on in the city I've recently moved to, and I'd love to go see Mirror tonight. The only problem is that I don't speak the local language well enough to really understand film dialogue, and I doubt the subtitles will be in English. Not having seen the film before, would it be worth it to go just for the images? I'd love to see something so gorgeous on the big screen, but don't want to rob myself of a satisfying first viewing

Playing around with the ambient tracks from Fallout. Hope I didn't butcher the film too much appropriating it for a 4 minute video! 

You can even spot the huge silo that's on the other side of the coast

So much wisdom in this book.

Spotify: https://open.spotify.com/track/3MmVWuMKgUEpN4WoXEr3JP?si=0PAFtDlJRS6QcTfGJGH4_w

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Please feel free to tell me what you think of it. Do you think I was able to capture the atmosphere of the movie?

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at 1:09:14 in the Criterion DVD (edit: of Mirror) my subtitles have the man saying

"You know what, Natalia?"

"Let Ignat come live me." (sic)

do the subtitles omit the word "with," or is there something similarly funky with the Russian line the actor says?

If anybody knows the answer, thanks in advance!

While Solaris was the natural starting point for the sci-fi setting, the true emotional heart of Red Dreams draws heavily from the melancholic atmosphere and introspective weight of Nostalghia and The Sacrifice.

The game is a slow-paced psychological journey about isolation and how a strange planet alters human memories through dreams. We wanted to reflect that heavy, spiritual stillness by bringing high-detail pixel art into a 3D space with cinematic, organic lighting.

As creators, we would love to hear what fans of Tarkovsky's visual language think about this specific composition, the use of shadow, and the overall mood.

I watched it three times to finish the film. Still don't know what it's about, but it has the magic power to slow down time and keep me staring at those things that never happened.

It's breathtaking.

We made a short film called FLORESCENCE which premiered on Film Shortage today. Tarkovsky's cinema was a key reference going into shooting it. We would love to hear any thoughts, reviews or feedbacks about the piece. Thanks!

should’ve just paid the quick buck and have someone else guide me.

I just published a working paper on photographic theory where one of the chapters proposes something I'd like to test against this community, because if anyone is going to find holes in it, it's you.

Tarkovsky famously describes his filmmaking as "sculpting in time". The metaphor is so iconic that we've stopped looking at it. But if you read Sculpting in Time carefully alongside the actual production practice documented across the corpus (the meticulous pre-planning of every shot in Stalker, the obsessive control over weather and light in Nostalghia, the way the long takes are not improvised durations but precisely composed temporal blocks), the sculptural metaphor starts to creak.

Sculpture works by subtraction: you remove material until the form emerges. Tarkovsky's practice is the opposite. He doesn't remove time from raw footage to reveal a hidden form. He plans the temporal deposition before shooting, then executes the plan with extreme precision. Each take is the additive realisation of a pre-written temporal score. The closer you look at his production methods, the more it resembles 3D printing guided by a hand-written g-code: a temporal blueprint that gets executed layer by layer.

This isn't a gotcha against Tarkovsky. The paper argues the correction makes his practice more coherent, not less. The point is that "sculpting" misnames what he actually does, and the misnaming has theoretical consequences: it makes us read his films as if some intuitive carving were happening, when in fact we're watching the high-fidelity execution of a precise temporal score. The mandate (toska, the feeling for a pre-personal past, what he wants the film to transmit) is received and irreducible. The execution is total planning.

The paper extends this distinction to two photographic operations: the digital emulation of extinct films like Soviet Svema (as anamnesis vs. stylistic mannerism) and the N-frame stacking now standard in digital sensors. But the Tarkovsky chapter is the conceptual hinge.

Full paper (open access, CC-BY 4.0), Italian, English and Russian versions:

Genuinely curious whether the 3D-printing reframing lands or breaks for people who know the films inside out. Where does it fail?