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Stalker (1979)

Not Rated | | Drama, Sci-Fi | 17 April 1980 (Netherlands)
A guide leads two men through an area known as the Zone to find a room that grants wishes.

Director:

Andrei Tarkovsky

Writers:

Arkady Strugatsky (novel), Boris Strugatsky (novel) | 2 more credits »
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Popularity
1,645 ( 177)

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Cast

Complete credited cast:
Alisa Freyndlikh ... Zhena Stalkera
Aleksandr Kaydanovskiy ... Stalker
Anatoliy Solonitsyn ... Pisatel
Nikolay Grinko ... Professor
Natalya Abramova Natalya Abramova ... Marta, doch Stalkera (as Natasha Abramova)
Faime Jurno Faime Jurno ... Sobesednitsa Pisatelya (as F. Yurna)
E. Kostin E. Kostin ... Lyuger, khozyain kafe
Raymo Rendi Raymo Rendi ... Patrulnyy politseyskiy (as R. Rendi)
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Storyline

In a small, unnamed country there is an area called the Zone. It is apparently inhabited by aliens and contains the Room, where in it is believed wishes are granted. The government has declared The Zone a no-go area and have sealed off the area with barbed wire and border guards. However, this has not stopped people from attempting to enter the Zone. We follow one such party, made up of a writer, who wants to use the experience as inspiration for his writing, and a professor, who wants to research the Zone for scientific purposes. Their guide is a man to whom the Zone is everything, the Stalker. Written by grantss

Plot Summary | Plot Synopsis

Genres:

Drama | Sci-Fi

Certificate:

Not Rated | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

Soviet Union

Language:

Russian

Release Date:

17 April 1980 (Netherlands) See more »

Also Known As:

Stalker See more »

Filming Locations:

Dolgopa, Russia See more »

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Box Office

Budget:

RUR 6,000,000 (estimated)

Opening Weekend USA:

$20,540, 5 May 2017, Limited Release

Gross USA:

$234,723, 14 July 2017
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono

Color:

Color (Sovcolor)| Black and White | Color (Eastmancolor)

Aspect Ratio:

1.37 : 1
See full technical specs »
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Did You Know?

Trivia

Loosely based on the novel 'Piknik na obochine' (Roadside Picnic) by Russian writers (and brothers) Arkady Strugatsky and Boris Strugatsky. Although the novelists also received credit for the screenplay, the book was actually adapted by director Andrei Tarkovsky, who remained uncredited for the script. Tarkovsky himself claimed that the words "Stalker" and "Zone" were the only two things the book and film had in common. See more »

Quotes

[first lines]
Stalker's Wife: [sub-titled from Russian] Why did you take my watch?
See more »

Connections

Referenced in Artemis 81 (1981) See more »

Soundtracks

Bolero
Written by Maurice Ravel
See more »

Frequently Asked Questions

See more »

User Reviews

 
The most Humanist Film in Existence
16 October 2005 | by OttoVonBSee all my reviews

Andrei Tarkovsky is a rarity among filmmakers in that he creates films that resemble elaborate (and always smartly written, beautifully shot and superbly acted) puzzles. The pieces are always scattered, and Tarkovsky relies on his viewer to bring the final element of the puzzle along with him. SOLARIS explores the boundaries of consciousness and the sense of grief (and it uses the titular planet as a metaphor for God). ANDREI ROUBLEV is a multi-layered voyage into religious belief. STALKER, however, is far more spiritual and existential than both of them.

A teacher and a scientist wish to go to a restricted patch of nature - the mythical conscious "Zone" - to make their wishes come true. To enter the area and survive its numerous danger, they hire a man sensible to the Zone's thoughts and actions, a Stalker. What they find there turns out to be very different from what they expected, as they come to discover who they truly are.

There's only so much you can say without getting drowned in details that would appear heavy-handed on paper but flow seamlessly on screen. Quite often, Tarkovsky reduces his characters to silence, letting their movements and eyes convey their thoughts and feelings and letting the viewer bring his own thoughts and beliefs to the film. One of STALKER's many treats is that it invites you to get carried away into your own thoughts, flowing with the images as it provides new questions to ponder... In that sense, the film is very much like a philosophical poem: a very simple surface covering innumerable layers of meaning. Yet the images Tarkovsky provides - whether filming landscapes or wide-shots or simply peering into his actors' extraordinary faces - make this almost hypnotic.

STALKER is a treasure: an invitation to go on a mental ride with a poet and philosopher. A film that makes you wonder more about yourself yet without making you anxious. The few existing films like STALKER are the reason why cinema is called "art"!


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