Chris Marker

Prod.: Amip / La Sept Arte / Ina / Arkeion Films Beta Sp. D.: 55’.

T. it.: Italian title. T. int.: International title. T. alt.: Alternative title. Sog.: Story. Scen.: Screenplay. F.: Cinematography. M.: Editing. Scgf.: Set Design. Mus.: Music. Int.: Cast. Prod.: Production Company. L.: Length. D.: Running Time. f/s: Frames per second. Bn.: Black e White. Col.: Color. Da: Print source

Film Notes

Andrej Tarkovsky comments in his Diary of 1986 on the images shot in Paris by his son, Andrioucha, who finally was permitted to join him in France: “I’m incredibly awkward, hardly natural, repress my emotions and repeat the same stupid statements.” This very Russian Journée is the starting point for a series of memories, quotes and putting into perspective the fundamental elements of one of the greatest filmmakers of all time. It is through the point of view of Tarkovsky’s major themes and his unique language that we travel through his films, including his first student film in Moscow and the practically unknown Boris Godunov he staged at Covent Garden in 1983. The film’s structure came together on its own, shaped around two other video recordings: a visit on the set of The Sacrifice in Gotland a few months before, when Tarkovsky still did not know he was ill, and one especially requested by him as testimony of his work, while directing the editing from his bed shortly before his death.

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