An elegiac collection of sixty Polaroid photographs by the late Soviet film director Andrei Tarkovsky."Tarkovsky often reflected on the way that time flies and wanted to stop it, even with these quick Polaroid shots. The melancholy of seeing things for the last time is the highly mysterious and poetic essence that these images leave with us. It is as though Andrei wanted to transmit his own enjoyment quickly to others. And they feel like a fond farewell."Tonino Guerra, from the Introduction
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Giovanni Chiaramonte is a distinguished Italian photographer. His images center around the relationship between place and destiny in Western civilization, a theme he shares with Andrey Tarkovsky.
Andrey Tarkovsky was a Russian director, writer and actor. He is regarded as one of the most important and influential filmmakers of the Soviet era in Russia and one of the greatest in movie history. Among his films are Solaris, Mirror, Stalker, and Nosalghia. He died in 1986.
Tonino Guerra's narrative talents have provided screenplays for film directors as diverse as Theo Angelopoulos, Michaelangelo Antonioni, Vittorio De Sica, Frederico Fellini and the Taviani brothers, as well as Andrey Tarkovsky.
The Russian Andrey Tarkovsky (1932-1986) is one of the greatest directors in film history. Here Italian photographer Chiaramonte and Tarkovsky's son mount a selection of color Polaroids the filmmaker took from 1979 to 1984 of his home, family, and friends in Russia and of places he visited in Italy. His father, Arseny, was a distinguished poet, and judging from the notebook extracts accompanying the pictures, Tarkovsky was no mean poet himself. Like his father, he intuited a holy eternity. Those windows into eternity, the icons of the Orthodox Church, influenced his visual style (his Andrei Rublev commemorates the greatest icon painter), and these photos, suffused by the ochre light of late afternoon and so powerfully composed that they argue that supreme artistic visualization was second nature to Tarkovsky, look so timeless and enduring that they inspire worshipful awe. Like some of the imagery of The Mirror, the Tarkovsky film these pictures most resemble, some of them tax and frustrate legibility. Always, they affirm a line of Arseny Tarkovsky's, "We are all immortal." Ray Olson
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