Andrei Tarkovsky’s Solaris (1971): A Conflicting, Science Fiction Masterpiece

Solaris is practically Stalker in space. Well…Solaris technically was released/made before Stalker, so in a sense, Stalker is Solaris on Earth. My conjectures are rather similar to how I feel about Stalker; it’s absolutely mind-boggling to see the cinematic achievement Tarkovsky was able to knack despite the sore pacing. They are both, like mentioned before, quite uniform. The movie even has its own “Zone”—AKA—planet “Solaris” which features altered hallucination aspects and what not. Sound familiar? 

Now, enough with these comparisons, cause in hindsight this movie was a real science-fiction treat. Inserting the prospects of revival upon loved ones who aren’t truly their authentic character that are able to linger onto your lust and memory, was a motif that carried the majority of this film to a prosperous victory. It appears that human nature would presumably choose to live in reach of a fictional setting as long as it reminds you of a previous reality-based facet in which, factored within a major fondness hidden inside your legacy. If nothing that I just said makes any sense to you’ll, you either might have to give Solaris a chance, or excuse my militant writing techniques.

The snug, masterful Tarkovsky script—which features impeccable dialogue that raises questions about humanity’s own vital existence—and enduring visual aesthetics make Solaris stand out. Both this and Stalker are endless film noir gems for the ages. (Verdict: ?)

Natalya Bondarchuk is one talented actress.

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