Mirror (1975).One of the most classically poetic images of cinema alights on a consummately beautiful Margarita Terekhova perched on a frail wooden fence, gazing out into the evocative beauty of the Russian countryside, her fingers twirling around the cigarette she nimbly smokes. Partly waiting for the return of her estranged husband and partly doused in the fume of a contemplative reverie, her distinct poise has become emblematic of ruminative art and one of its major cinematic architects: Andrei Tarkovsky, the progenitor of the slow arthouse. His most personal film, Mirror (1975), presents a pensive reflection on a childhood spent during the war, a muted and measured observation of motherhood, and a tour of the many interpersonal relationships that one nurtures and stifles.Tarkovsky’s oeuvre—rife with moments of stillness and minimal activity—is a delicate journey across the auteur’s spiritual landscape. It has been echoed in many a lecture...
- 7/29/2022
- MUBI
Above: French petite poster for Mirror. Designer unknown.I first saw Tarkovsky’s Mirror—a film I consistently name as my favorite film of all time—in December 1987, at the Cosmos Theater on the Rue de Rennes in Paris. The Cosmos was a large Art Deco theater that had opened in 1934 as the Lux Rennes and in 1962 had been purchased by Jacques Tati and renamed L’Arlequin. In 1978 it was bought by a company that specialized in imports from the Ussr; they changed its name to Le Cosmos and for the next 14 years focused on screening Soviet films. It was during that period that I saw Mirror though I knew none of that history at the time. (In 1992 it was renamed L’Arlequin and still operates under that name today.) The poster above, which I assume dates from the film’s first release in France in 1978, was probably the poster...
- 1/29/2021
- MUBI
"Everything will be... all right." Janus Films + Film at Lincoln Center have revealed a new trailer for the restored re-release of Andrei Tarkovsky's 1975 film Mirror, also known as The Mirror, originally Зеркало (Zerkalo) in Russian. Tarkovsky made this one right after finishing both Andrei Rublev and Solaris, but it got lost in time as it didn't even make its way to America until five years later, first showing at the Telluride Film Festival, then opening in cinemas in 1983. A dying man in his 40s remembers his past. His childhood, his mother, the war, personal moments and things that tell of the recent history of all the Russian nation. Mirror features Margarita Terekhova, Filipp Yankovsky, Oleg Yankovsky, Ignat Daniltsev, and Maria Tarkovskaya. For those who haven't seen it and need convincing: "Mirror stands as perhaps the most extraordinary triumph of Tarkovsky’s short yet remarkable career, fashioning an originally lyrical...
- 1/24/2021
- by Alex Billington
- firstshowing.net
A significant new retrospective of the legendary and hugely influential Russian filmmaker is a fresh opportunity to see some gorgeous films on a big screen. I’m “biast” (pro): nothing
I’m “biast” (con): nothing
(what is this about? see my critic’s minifesto)
Ingmar Bergman called him the greatest director. Lars Von Trier calls him “God.” The legendary Russian filmmaker Andrei Tarkovsky, who died in 1986 aged only 54, is one of the most influential in the history of the medium, a cinematic philosopher who was constantly at odds with the Soviet government, which saw subversiveness in his morosely dreamy films… as, indeed, there may well have been. Tarkovsky called his style of filmmaking “sculpting in time,” and the ambiguous moodiness of his work often encompassed a particular Russian-flavored tumultuousness on the small scale of a human life reflected against human history, full of tragedy, trauma, and torment. But...
I’m “biast” (con): nothing
(what is this about? see my critic’s minifesto)
Ingmar Bergman called him the greatest director. Lars Von Trier calls him “God.” The legendary Russian filmmaker Andrei Tarkovsky, who died in 1986 aged only 54, is one of the most influential in the history of the medium, a cinematic philosopher who was constantly at odds with the Soviet government, which saw subversiveness in his morosely dreamy films… as, indeed, there may well have been. Tarkovsky called his style of filmmaking “sculpting in time,” and the ambiguous moodiness of his work often encompassed a particular Russian-flavored tumultuousness on the small scale of a human life reflected against human history, full of tragedy, trauma, and torment. But...
- 5/20/2016
- by MaryAnn Johanson
- www.flickfilosopher.com
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.