Andrei Tarkovsky is a Russian director who has made a number of films, including the feature film and the short film. He also directed three documentaries and an episode of the television series.

Andrei Tarkovsky was born in Moscow in 1928. His father was a theater director, but he did not follow his father’s profession and became an engineer instead.

Andrei Tarkovsky has been called “the greatest filmmaker ever” by many critics. His films have won him awards all over the world, including two Oscars for The Mirror (1957) and Solaris (1972).

Andrei Tarkovsky’s cinema is very different from other directors’ work because it does not use dialogue or action but instead uses visual images to tell stories that are told in silence or through actions alone.


Best Andrei Tarkovsky Movies

Who Was Andrei Tarkovsky?

Andrei Tarkovsky is one of the greatest directors of all time. His films are known for their profound visual language and deep philosophical themes. His films often tell a story in a single take, and they use long takes to create a sense of meditative calm.

Tarkovsky’s films are rich with philosophical meaning and spiritual insight. His films are often slow to begin, but they end up with powerful imagery that stays with you long after the film has ended.

Many critics consider Andrei Tarkovsky one of the greatest arthouse directors of all time, and he ranks among the best European directors in history, along with Ingmar Bergman, Federico Fellini, and Michelangelo Antonioni.



The first Andrei Tarkovsky film was called Ivan’s Childhood (1962), which was based on his own childhood memories. This film focused on Ivan’s childhood experiences, especially those of his grandmother who lived with them while they were growing up.

The main character in this story is Ivan who misses his mother but does not know why she left or if she will return for him one day as promised by her father who is also present in this film

Best Andrei Tarkovsky Films

Andrei Tarkovsky’s films are among the most widely discussed, lauded and imitated in world cinema. He was born on March 11, 1932, in St. Petersburg. His father was an engineer and his mother a teacher; he was educated at the Imperial Academy of Arts in Leningrad where he studied painting and cinema.

After graduating from art school in 1956, Tarkovsky served as an art director for two years on a documentary film about Stalin’s purges. In 1957 he joined Mosfilm Studios as a graphic designer and illustrator, but soon began directing short films for children’s television programs.

In 1961 he made his first feature-length film, The Solar Barque (Soyuz sokrovishcha), which received little attention from either critics or audiences. His second film, Ivan’s Childhood (Ivanovo detstvo), won him international acclaim; it was nominated for an Academy Award for Best Foreign Language Film in 1963, and is considered one of the greatest Soviet movies ever made.

Tarkovsky followed this with Ivan’s Childhood (Ivanovo detstvo) (1962), Andrei Rublev (1966), Mirror (Mir Mir) (1975), and Nostalghia (1983).

Tarkovsky’s last

1. Stalker (1979)

Stalker (Russian: Сталкер), is a 1979 Soviet science fiction film directed by Andrei Tarkovsky. It was written by Arkady and Boris Strugatsky, based on their novel Roadside Picnic.

The film won the 1980 Academy Award for Best Foreign Language Film and was nominated for the Palme d’Or at the 1980 Cannes Film Festival.

The story follows an unnamed Stalker who travels into a dangerous unknown world in search of his missing wife. Along the way he encounters a variety of characters, each of whom has their own agenda and unique perspectives on life.

Stalker is considered one of Tarkovsky’s greatest films, as well as one of the most important films in Russian cinema history.[1] It has been described as a metaphorical journey into man’s soul,[2] while some consider it to be an allegory about existentialism.

2. Andrei Rublev (1966)

The film Andrei Rublev is a powerful and moving allegory of the relationship between God and humanity. It is also a brilliant depiction of the spiritual struggles of medieval Russia, as seen through the life and work of the painter Andrei Rublev (1829–1881).

The film tells the story of a young monk who lives in a monastery and paints pictures for the church. His work is admired by all and he becomes famous, but then he becomes obsessed with painting an image that will be so perfect it will be able to depict God.

He even starts to dream about this perfect image, which becomes his obsession.

Eventually, however, Rublev realizes that his obsession has led him away from creation toward destruction – that his perfectionism has become an idolatry that prevents him from living in accordance with his faith.

This realization leads him to abandon his image-making and return to painting images inspired by nature rather than those inspired by artifice.

The film’s brilliance lies in its ability to convey such incredible depth while remaining so accessible at its core – it’s a movie you can watch over and over again without ever feeling like you’re learning anything new or being bored by it.

Andrei Rublev
  • Amazon Prime Video (Video on Demand)
  • Anatoliy Solonitsyn, Ivan Lapikov (Actors)
  • Andrei Tarkovsky (Director)
  • English (Playback Language)
  • English (Subtitle)

3. Mirror (1975)

In this film, Tarkovsky requires the audience to identify with a character who is not only alienated from society and from his own life, but also from himself. The film begins with a slow pan of a mirror, which reflects the protagonist’s face.

He is wearing a white jacket and holding a black cane. The camera moves down to his shoes, which are covered in mud; then it stops on his chest and we see that he has been wounded by an arrow. The camera then moves over to him as he sits up in a bed and looks out of the window at the city below him.

He hangsrily drinks some water from a glass while observing people walking down the street below. As he looks down on them, we realize that they are all looking at him some staring at his reflection in the window while others walk past without even noticing him or his gaze upon them.

The next scene takes place in an office where a man named Vanya (Vladimir Menshov) is trying to convince another man named Ivan (Aleksandr Kaidanovsky) to leave his wife for him so that they can be together forever—but Ivan does not want to leave his wife because he believes

The Mirror
  • Amazon Prime Video (Video on Demand)
  • Margarita Terekhova, Ignat Daniltsev, Larissa Tarkovskaya (Actors)
  • Andrey Tarkovsky (Director) - Alexander Misharin; Andrey Tarkovsky (Writer) - Erik Waisberg...
  • English (Playback Language)
  • English (Subtitle)

4. The Sacrifice (1986)

The Sacrifice is the film that introduced me to Andrei Tarkovsky. I remember watching it in a foreign-language class at school, and being struck by how beautiful it was.

The images were so detailed and intense, yet they still managed to look like real life. It feels like you’re not watching a movie you’re watching someone’s life.

The story follows two priests who are investigating the death of a young girl who was found dead in an old church on their small island off the coast of Crimea. They believe she was murdered by someone from outside their small community, but there’s no evidence or suspects that can be found.

It soon becomes clear that this girl had something to do with her own death: she was trying to save another girl from a cult who was trying to sacrifice her at midnight on the winter solstice.

The film’s theme is sacrifice, but not just any kind of sacrifice — it’s specifically a human sacrifice. This isn’t just about ritualistic killing either; it’s also about ritualistic killing as a way of life for these people living on their remote island community full of religious rituals and traditions going back hundreds if not thousands of years

The Sacrifice
  • Amazon Prime Video (Video on Demand)
  • Sven Vollter, Erland Josephson, Allan Edwall (Actors)
  • Andrei Tarkovsky (Director) - Andrei Tarkovsky (Writer) - Anna-Lena Wibom (Producer)
  • (Playback Language)

5. Nostalghia (1983)

Nostalghia (1983) is a film by Andrei Tarkovsky. It is based on the poem of the same name by Osip Mandelstam, who was executed by Stalin in 1938. The film is set in the late 1940s and early 1950s, when Tarkovsky was a prisoner of war in a Soviet camp.

The story is about two men who are about to die: one because of an accident, and one because he has been sentenced to death for some unknown crime.

The film begins with a series of shots of people walking down a street. Some are carrying shopping bags and others are pushing prams. There are also shots of people playing chess or reading newspapers on benches.

In this opening sequence Tarkovsky uses many camera angles and movements that suggest movement and action rather than static pictures.


The two main characters are played by Anatoly Solonitsyn (who won an Oscar for his performance) and Vladimir Ponomarev (who had previously worked with Tarkovsky). Solonitsyn plays Nikolai, who has just been arrested for stealing money from his office after failing to pay it into the state bank account; he has been sentenced to 10 years’ hard labour in Siberia (where he will die). 

Nostalghia (English subtitled)
  • Amazon Prime Video (Video on Demand)
  • Oleg Yankovskiy, Erland Josephson, Domiziana Giordano (Actors)
  • Andrei Tarkovsky (Director) - Andrei Tarkovsky (Writer) - Daniel Toscan du Plantier (Producer)
  • English (Playback Language)
  • English (Subtitle)

6. Solaris (1972)

Solaris is a 1972 science fiction film directed by Andrei Tarkovsky. The film was adapted from the eponymous novel of the same name, written in Russian by Stanisław Lem.

It follows psychologist Kris Kelvin (Donatas Banionis) as he tries to communicate with his dead wife, who appears to him on earth as an alien entity known as Solaris (Svetlana Bakhrushin). The film features cinematography by Aleksandr Lomont and art direction by Aleksandr Zholtov.

The central theme of Solaris is whether or not communication between living beings can exist. On one side is a desire to understand what it means to be human and on the other side a desire to know how far man can go before becoming animalistic.

The film won three awards at the Cannes Film Festival: Best Cinematography (Alexei Costev), Best Adapted Screenplay (Stanislav Govorukhin), and Best Actress (Svetlana Bakhrushin). It also won an award for its score at the 1971 Moscow Film Festival.[1]

Solaris (The Criterion Collection) [Blu-ray]
  • Factory sealed DVD
  • Natalya Bondarchuk, Juri Jarvet, Donatas Banionis (Actors)
  • Andrei Tarkovsky (Director)
  • English (Subtitle)
  • English (Publication Language)

7. Ivan’s Childhood (1962)

It is a film that became a cult classic in the following decades. It tells the story of a little boy named Ivan who lives with his mother, grandmother and great-grandmother in an apartment.

They all work as tailors, sewing dresses for rich women in Moscow. The two women are unhappy because they have to work so hard and live in a small apartment, while their sons can easily earn money doing anything they want.

The grandmother seems to be lonely while her husband has not been taking care of her since she got sick.

Ivan is a very sensitive boy who is often teased by other kids at school. He has to hide his sadness from everyone else because he knows that no one believes him about how bad things are for him at home.

As time goes by, Ivan grows up into a handsome man but still keeps his childhood spirit with him. He falls in love with one of the girls from school and marries her after graduation from high school.

They have two children together but eventually divorce because of Ivan’s inability to find work as an artist and support his family financially on his own.

Ivan's Childhood (The Criterion Collection) [Blu-ray]
  • Nikolay Burlyaev, Valentin Zubkov, Yevgeni Zharikov (Actors)
  • Andrei Tarkovsky (Director)
  • English (Subtitle)
  • English (Publication Language)
  • Audience Rating: NR (Not Rated)

Characteristics Of Andrei Tarkovsky Films

Andrei Tarkovsky’s films are often described as “slow cinema” because he wanted to create a world of his own. His films are not meant to be watched quickly, but with patience and attention.

The first characteristic of Andrei Tarkovsky’s work is that it is characterized by long takes. This means that the camera stays on one place, or moves slowly in a certain direction, for a long time. The viewer can then see everything that happens in the frame and all details of the environment.

The second characteristic of Andrei Tarkovsky’s work is that it features long periods of silence, or music that is slightly dissonant. This creates an impression of eeriness and melancholy in some of his films (for example, Solaris).

The third characteristic of Andrei Tarkovsky’s work is that it features slow movements or gestures by characters. For example, in The Mirror, when Alexey walks through the empty house with his mother and father, he walks slowly and pauses for moments at each step without saying anything; this creates a feeling of loneliness and sadness in him.

Andrei Tarkovsky Films – Wrapping Up

After you’ve watched a Tarkovsky film, it’s hard to look at other movies the same way. The characters are so real, the settings so vivid and the story so powerful that you’ll start to see all films as mere shadows of their true selves.

The films of Andrei Tarkovsky are all about human beings trapped in time and space. A man struggles with his place in the world and his relationship with God.

A woman struggles to find meaning in life and love. A child struggles to understand his place in the world, but also his sense of self and who he is.

Tarkovsky was a Russian director who made fewer than 10 films during his lifetime (he died at age 52), but they’re considered some of the greatest films ever made.

His style was very different from Hollywood or even Soviet-era filmmaking, which can be difficult for audiences used to thinking in terms of genres (romance or horror).

But for those willing to give them time, these films can change your life; they’ll make you think about what it means to be alive and what we’re each responsible for doing with our lives.


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