Stalker

Stalker ★★★★½

When man is faced with his true, secretive, unconscious desires, what will he make of it? He will finally expose himself to himself. This is both the scariest part of The Zone and the main reason why it’s perhaps this film that Tarkovsky should have entitled Mirror instead. Stalker is a mammoth of a movie — it is the one that killed him, after all — and could very, very easily be sliced into a more terse piece of storytelling; but it sees Tarkovsky, through a sheen of artistic self-indulgence, clicking into the same subtextual contemplation that makes Solaris and The Sacrifice so great... that dark underbelly of the subconscious that he isn’t afraid to mine for material, that inevitable decomposition of the human spirit he was so adept at examining.

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