elizabeth 🌈’s review published on Letterboxd:
Religious journey into complete unknown. To write about Tarkovsky's Stalker is a task a bit more difficult than entering the zone. Is there a way to find the words to describe Tarkovsky's staggering poetry, are there enough superlatives in the world to describe his devine images, is there a way to put in paper what you just felt, what you just experienced while watching or to put it more elegantly living inside one of his indescribably beautiful songs of light, his magical poems of humanity? A movie sculpted with the most powerful light, with the deepest of darkness, with the dust of time that creates and destroys everything. It's a tough journey and a long one, but at the end you feel changed, completed, enlightened. Tarkovsky answers the difficult questions, Tarkovsky lets the viewer see the truth, hold it in his hands and marvel at its existence. Tarkovsky creates something that defines cinema, that changes it, that transcends it, something that eliminates the fog of the world and replaces it with humanity's beauty, a note of hope in a symphony of despair. If you are spirutually hungry then Stalker is you comfort food. It has everything, it is eveything. Stalker touches the soul, it has the pathos and the glory of pieces of music by the likes of Bach or Beethoven, it is the greatest prayer in search of desire and poetic harmony. How hyperbolic can one be? A lot, but I mean everything I just wrote with the utmost sincerity, for I feel like a changed man after witnessing the miracle that is Stalker. I've seen people comparing Stalker with The Wizard Of Oz, and in way they are the exact same movie while simultaneously being the exact opposite. Stalker is The Wizard Of Oz if The Wizard Of was entirely shot on black and white and took place in a post apocalptic Kansas, where Dorothy was solely searching for meaning and by the end she doesn't enter the technicolour world of Oz, she sees the face of god. The movie of life. Maybe the best there is.