Children as a Reflection of Transcendence in the Filmography of Andrei Tarkovsky

Abstract

Andrej Tarkovsky is a Russian film author who has indebted the entire world’s cinematography with his cinematic style. His (auto)biography and filmography give us a hint that he was a deeply religious man who believed that art should serve to deepen man’s spirituality. By watching and analyzing the author’s films, we came to the hypothesis that Tarkovsky uses the characters of children to express something supernatural, and therefore, we wanted to explore which narratives and stylistic devices the director uses to give his interpretation of the spiritual and transcendent. Thus, we analyzed nine characters of children that appear in the director’s six full-length feature films: Ivan Bondarev (Ivan’s Childhood), Boriska (Andrei Rublev), Aleksej, Ignat and Asafjev (Mirror), Marta (Stalker), Domenico’s son and Angela (Nostalghia), and Gossen (The Sacrifice). The methods we have used are qualitative content analysis, description, comparison, and synthesis. The characteristics we have noticed in the characters of the children, which could point to the transcendent, are a deep and penetrating gaze, the supernatural powers children use, the mysterious environments they inhabit, the deep influence they have on other characters, asking religious questions, hermit-like loneliness, modest clothes, and allusions to a Christ-like figure.