Andrei Arsenyevich Tarkovsky (Russian: Андрей Арсеньевич Тарковский, pronounced [ɐnˈdrʲejɐrˈsʲenʲjɪvʲɪtɕtɐrˈkofskʲɪj]ⓘ;[1] 4 April 1932[2] – 29 December 1986) was a Soviet[a] film director and screenwriter of Russian origin.[3] He is widely considered one of the greatest directors in cinema history. His films explore spiritual and metaphysical themes and are known for their slow pacing and long takes, dreamlike visual imagery and preoccupation with nature and memory.[4][5]

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Andrei Tarkovsky's films are celebrated for their visual power and poetic resonance, and are best experienced theatrically due to the importance of scale and sound design.[4] He was a versatile artist who synthesized various art forms in his films, viewing cinema as a poem or dream rather than a mere reflection of reality.[3]

Tarkovsky's work reflects a deep preoccupation with the metaphysical and spiritual realms, as well as unconventional dramatic structure and a distinctively unique use of the cinematic lens.[7] Ingmar Bergman hailed him as "the most important director of all time". [7] Tarkovsky's films are characterized by metaphysical themes, extremely long takes, and images often considered by critics to be of exceptional beauty.[8] Recurring motifs are dreams, memory, childhood, running water accompanied by fire, rain indoors, reflections, levitation, and characters re-appearing in the foreground of long panning movements of the camera.[8]

Tarkovsky's first feature film was Ivan's Childhood in 1962, which earned him international acclaim and the Golden Lion award at the Venice Film Festival.[3] He then directed Andrei Rublev in 1966, Solaris in 1972, Mirror in 1975 and Stalker in 1979.[3] His last film The Sacrifice was produced in Sweden in 1986.[3] Tarkovsky was personally involved in writing the screenplays for all his films, sometimes with a cowriter.[3]

Tarkovsky's films are not just science fiction. They are mystery and poetry.[3] He explored philosophical and religious themes, such as the meaning and experience of faith, inner freedom, the soul's relation to the divine or non-material realm, and the act of artistic creation.[9]

Tarkovsky's cinematic style is characterized by metaphysical themes, long takes, and dreamlike imagery, with recurring motifs such as dreams, memory, and nature.[8]