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It's not easy to make such judgments, but this is my favorite film. A personal choice, for sure, but what MIRROR achieves is the height of poetry and literature. Its final moment, if it works for you (and I can imagine it wouldn't for all), is a success of the "method of indirection" sought by poetry. Its effect is cumulative and devastating.

People often stress the difficulty of this film, but my only answer is to allow it to wash over you and allow it to have its effect. The first time I saw it, I was amazed, but a little baffled. The second time I cried. Each time since then I've teared up, if not actually wept. Its presentation, in its last shots, of the totality of the human experience, combined with the Bach's St John Passion, crushes me every time. And I'm not even Russian. Nor am I religious--this is the closest I get to religion. You just have to be human to understand MIRROR. This is the way of all Tarkovsky这是一部自传体的的电影。影片完全抛开情节线索，通过少年的回忆来呈现其成长时童真的迷失、对家人的回忆、对亲情的召唤。影片中有极为重要的一个情节：因为生活困难，幼年塔科夫斯基随年轻的母亲踏着泥泞到亲戚家借钱，独自呆在一个陌生的房间里。静默之中，他发现了一面镜子，看到了镜子中的自己。镜头推近镜子中的脸庞，再推近镜子外的脸庞，画外响起巴赫的音乐，音乐声由弱到强。幼小的安德烈就那样静静地、一动不动地端坐在镜子前，久久地与镜子里的自己对视……幼年时的塔科夫斯基通过亲戚家这面陌生的镜子审视着自己；而成人之后的塔科夫斯基通过影片《镜子》，通过记忆进行了自我认知

4444(创建者)