Emil Woerner’s review published on Letterboxd:
I’m being overwhelmed by perfect movies today! Tarkovsky might have just made his best movie with this one, solidifying his as one of the best directors I’ve ever given attention to. I really don’t know what to say after this except that I want to see it again immediately. Shit, I might have to. This film played like a series of quick, illogical, and unrelenting memories. Or delusions. Or recollections. I’m happy it was left largely up to interpretation to what this was, because I find with Stalker and Solaris, Tarkovsky puts himself in a box with his fantasy and surrealistic components to his scripts, and with Ivan’s Childhood and Andrei Rublev he omits the fantasy elements altogether and just delivers stark realism. It may not be far fetched to say he delivered a masterpiece in each format, but this film is something very different because it’s nearly incomprehensible, and I mean that very positively. This film feels like a stream of consciousness that’s not bound to logic, story, reality, time, or even consistency in characters. Because of that, and how perfectly assembled the movie is (which, this is easily the most beautiful Tarkovsky film, knocking Stalker out of that spot. The combination of sepia, black and white, and color, and how beautiful his white, green, brown, purple, and gold color compositions are, are fucking great. You combine that with his mastery of the long take and you got his best cinematographical feat yet. Also, his best score is in this film, not even a competition) we have what feels like his best film, and easily his most visceral and enthralling. Very very very happy this movie is as good as it is right now.