Latest Tweets:
Burning Barn / House No. 1
The Mirror / Zerkalo (Andrei Tarkovskiy, 1975)
(via dandancantfly)
Andrei Tarkovsky on the set of Solaris.
(Source: strangewood, via re-constitution)
I can’t say I fully understand it, but it’s obviously beautiful.
(Source: lowestentropy, via mustear)
Alexei’s Vater returns home, in this short scene from Andrei Tarkovsky’s The Mirror (Зеркало, 1975).
Notice how he took advantage of Margarita Terekhova’s resemblance to Ginevra de’ Benci, painted by Leonardo da Vinci.
And how suddenly, a short section of Johannes-Passion by Johann Sebastian Bach (listen here).
Und siehe da, der Vorhang im Tempel zerriß in zwei Stück von oben an bis unten aus. Und die Erde erbebete, und die Felsen zerrissen, und die Gräber täten sich auf, und stunden auf viel Leiber der Heiligen.
And lo, behold: the curtain of the temple was rent in twain from the top to the bottom. And the earth was filled with quaking, and the cliffs split asunder, and the graves themselves opened up, and there rose up the bodies of many saints.
This one is just ridden with these things. See that Red Army pin on his uniform? Somehow, the universe has conspired to grant me possession of a few similar ones, it’s a funny story actually, I collect old stuff.
Mao Zedong, The Little Red Book and the Sino-Soviet Border Conflict.
As seen by Andrei Tarkovsky in The Mirror (Зеркало, 1975).
"Time is said to be irreversible. And this is true enough in the sense that ‘you can’t bring back the past’, as they say. But what exactly is this ‘past? Is it what has passed? And what does ‘passed’ mean for a person when for each of us the past is the bearer of all that is constant in the reality of the present, of each current moment? In a certain sense the past is far more real, or at any rate more stable, more resilient than the present. The present slips and vanishes like sand between the fingers, acquiring material weight only in its recollection. King Solomon’s ring bore the inscription, ‘All will pass’; by contrast, I want to draw attention to how time in its moral implication is in fact turned back. Time can vanish without trace in our material world for it is a subjective, spiritual category. The time we have lived settles in our soul as an experience placed within time."
Andrei Tarkovsky: Sculpting in Time (via mindfulpleasures)
(via piercetheinsensitive)
1945
The end of the Great Patriotic War, conquest of Berlin, death of Adolf Hitler, Soviet celebration and German mourning, bombings of Hiroshima and Nagasaki, but no Dresden.
A young boy stares accusingly over Pieter Bruegel de Oude’s Jagers in de Sneeuw.
As seen by Andrei Tarkovsky in The Mirror (Зеркало, 1975).
The war in Spain, from Andrei Tarkovsky’s
The Mirror (Зеркало, 1975, imdb).
Set to the rondeña Navegando me Perdí (listen here),
by Jacinto, Niño de Almadén.
Por esos mares de Dios
navegando me perdí,
y con la luz de tus ojos
a puerto de mar salí.
Vive tranquila, mujer,
que en el corazón te llevo,
y aunque lejos de ti esté
en otra fuente no bebo,
aunque me muera de sed.
Después de haberme llevado
toda una noche de jarana,
me vengo a purificar
debajo de tu ventana,
como si fuera un altar.
Instrumental Tarkovsky by legendary Portuguese musician José Afonso, from his 1985 album Galinhas do Mato, produced by Júlio Pereira and José Mário Branco.
