![]() If it is to last, art has to draw deep on its own essence only in this way will it fulfil that unique potential for affecting people which is surely its determining virtue and which has nothing to do with propaganda, journalism, philosophy or any other branch of knowledge or social organization. But the director is notorious for insisting that his films hold no coded messages, that his art is a visual poetry which strives to convey emotion rather than meaning: The second of two science fiction films which bookend his loosely autiobiographical Mirror (1975), Tarkovsky’s Stalker is often discussed in terms of how ‘deep’ it is, how rich with existential meaning. ![]() So often has this been the case at my local cinema-gallery that when experimental filmmaker Hiraki Sawa requested to screen the film during the run of his exhibition of Lenticular, he was asked to choose another of Tarkovsky’s films instead. Seemingly more often than any other of his seven feature films, Andrei Tarkovsky’s Stalker (1979) is chosen as a filmic accompaniment to artistic exhibitions. ![]()
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