Andrei Tarkovsky

Latest Articles


Days of future past

Science-fiction films have been with us since Edison’s 1910 version of Frankenstein , but they bloomed in the ’Nam era, nourished by a volatile cocktail of cultural ingredients.
'SF-1970' at the Harvard Film Archive
By MICHAEL ATKINSON  |  June 18, 2010

Once upon a time in Hungary

Since its release in 1994, Hungarian auteur Béla Tarr’s 435-minute sui generis masterpiece Sátántangó has had the top critics grasping for superlatives.
Béla Tarr’s epic arrives on DVD
By PETER KEOUGH  |  August 26, 2008

Kino pravda

Because Mosfilm, the subject of the Museum of Fine Arts’ “Envisioning Russia” retrospective, was the Soviet state production studio, any cross-section of its history lays out the entirety of Soviet film history.
‘Envisioning Russia’ at the MFA
By MICHAEL ATKINSON  |  August 26, 2008

Space cases

Perhaps it’s something in the air, but in the last year or so it seems that Boston’s experimental outer limits has seen an analog-synthesizer renaissance.
Astronaut and Ernst Karel
By SUSANNA BOLLE  |  December 14, 2007

Perversion, introversion

Slavoj Zizek, the fuzzy-bearded Slovenian philosopher, seems a fun guy.
Slavoj Zizek at Harvard, Bergman on Fårö
By GERALD PEARY  |  April 03, 2007

Rain man

Let’s take stock of Béla Tarr, the great Hungarian dyspeptic, and maybe the most famous and revered international film titan to have been so pitifully screened in American theaters that his public profile here is tantamount to an embargo.
The lingering gaze of Béla Tarr at the HFA
By MICHAEL ATKINSON  |  January 10, 2007


Movies from outer space

Our new-found DVD-ness and cable-TV luxury notwithstanding, movies have always been a public medium, a spatial experience we share in the theater and a topical experience we share in the culture at large.
From the tsars to the stars at Harvard
By MICHAEL ATKINSON  |  November 30, 2006

Paradoxical subversions

One of the paradoxes of Syrian cinema, writes Rasha Salti, the curator of the traveling “Lens on Syria: Thirty Years of Contemporary Syrian Cinema,” is that though they must submit their work to the oversight of a government that’s merciless in stamping
Syrian films at the MFA
By CHRIS FUJIWARA  |  September 08, 2006

Shaggy-dog stories

A close-up of a side of beef last inspected in 1965 takes pride of place at the start of Ilya Khrzhanovsky’s bold, weird, overwrought first feature, 4 .
Ilya Khrzhanovsky’s 4 on the floor
By PETER KEOUGH  |  August 07, 2006