© Андрей Тарковский/Ultreya, Milano

Russian auteur Andrei Tarkovsky is often cited as the greatest cinematic artist of all time. His roster of just seven films – including Andrei Rublev, Ivan’s Childhood and Solaris – have made him one of the most lauded directors in history, awarded a Golden Lion, the Grand Prix du Jury at Cannes and, posthumously, the Lenin Prize – the highest accolade in the Soviet Union. One of his heroes, Ingmar Bergman, stated, “Tarkovsky for me is the greatest, the one who invented a new language, true to the nature of film, as it captures life as a reflection, life as a dream.”

© Андрей Тарковский/Ultreya, Milano

© Андрей Тарковский/Ultreya, Milano

© Андрей Тарковский/Ultreya, Milano

Veneration for Tarkovsky has not dimmed since his premature death in 1986, making the recent discovery of a cache of his polaroids a thrilling find. Taken between 1979 and 1984, in the years before his death from a cancer supposedly contracted on the set of Stalker, they span his last months in the Soviet Union and the years he spent researching and filming in Italy. Very much in the spirit of his moving image work, they capture nature, individuals and light in images that shine with the singular humanity which imbues his films. He once pronounced that “the director’s task is to recreate life, its movement, its contradictions, its dynamic and conflicts. It is his duty to reveal every iota of the truth he has seen…” In these vignettes from his personal world, populated by his dog, his children, his garden and the view from his window, we are left spellbound by a quiet and captivating insight into the world of a man who rendered dreams reality, creating worlds of wonder and truth that have never been equalled despite all the bombast of modern technology.

© Андрей Тарковский/Ultreya, Milano

© Андрей Тарковский/Ultreya, Milano

© Андрей Тарковский/Ultreya, Milano

Article originally published at Another Magazine

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