A subtle science fiction masterpiece, Andrei Tarkovsky’s 1979 Stalker, this visually stunning and enigmatic film about human curiosity, spiritual fulfilment, hope and desire, goes on an existential quest, which will delight some and infuriate others in equal measure.
The divide between plot-led and character-driven stories creates misunderstanding and hostility among film-lovers. What for one group is a nuanced and detailed tale, for another is nothing else than a boring and overlong story. What some people admire in certain Hollywood blockbusters is seen by others as mindless and bloated entertainment. A further chasm is created by a third group of films – allusive, metaphorical and imagery-preoccupied ones – made by true auteurs like Malick or Kieslowski, and especially, Russian master Andrei Tarkovsky. Continue reading