一部看得我一头雾水的电影，但是长镜头拍得好美。
给我的感觉比起电影更像是油画，全篇充斥着安静的凝视。
或是诗。思想的产生与发展服从于特殊的规律，其表达需要有别于抽象逻辑构造的形式。而诗的逻辑更接近思想发展的规则，这也意味着它比传统戏剧的逻辑更接近生活的本质。传统戏剧文学中，形象总是跟随着情节合乎逻辑地呈线性发展。这种吹毛求疵的所谓事件的“正确”连贯性往往来自专横的臆测和抽象而投机的推断。暂且不论这一点，如果让情节随着人物性格发展，就会发现，所谓连贯性逻辑是建立在对生活复杂性的肤浅理解之上的。
本想聊聊电影本身。但拜读过他的《Sculpting in Time》后，会有点觉得解读即是亵渎。也许对于塔可夫斯基的作品我们只能感受，而非试图去理解。
“I have to admit that even when professional critics praised my work I was often left unsatisfied and irritated by their ideas and comments—at least, I quite often had the feeling that these critics were either indifferent to my work or else not competent to criticise: so often they would use well-worn phrases taken from current cinema journalese instead of talking about the film's direct, intimate effect on the audience. But then I would meet people on whom my film had made an impression, or I would receive letters from them which read like a kind of confession about their lives, and I would begin to understand what I was working for.”
塔反对对其电影中的意象进行过于简单和直接的符号化解读。不过我觉得他只是厌恶观众去迎合，毕竟他也说过他的梦想是通过自己的影片去表达思想，即使不把自己的意愿强加给别人，但当你的世界观为他人所吸收时他仍然会很高兴。
“My most fervent wish has always been to be able to speak out in my films, to say everything with total sincerity and without imposing my own point of view on others. But if your vision of the world turns out to be one that other people recognise as a part of themselves what better motivation could there be for one's work. ”
我想我也认同
“Artistic creation, after all, is not subject to absolute laws, valid from age to age; since it is related to the more general aim of mastery of the world, it has an infinite number of facets, the vincula that connect man with his vital activity; and even if the path towards knowledge is unending, no step that takes man nearer to a full understanding of the meaning of his existence can be too small to count.”
当然我还是坚持我的观点，创作一定具有目的。正如影片中的很多设计一样。比如男主Andrei头发上的那一抹白色非常突兀，这是否只是简单的对于他的年龄的暗示？还是不平衡与不和谐的状态的物理外化？i.e. 他的精神困境“乡愁”。
“对无限的观察”
