Stalker 1979

Directed by Andrei Tarkovsky Big Nights

One of the most immersive and rarefied experiences in all cinema, Andrei Tarkovsky’s Stalker embarks on a metaphysical journey through an enigmatic post-apocalyptic landscape. Newly restored.

Jul 29
Selling Fast

The Roxy Cinema

Aug 02

Embassy Deluxe

Aug 05

Embassy Theatre

USSR In Russian with English subtitles
161 minutes Colour and B&W / DCP
G
cert

Director

Screenplay

Arkady Strugatsky
,
Boris Strugatsky. Based on their novel Roadside Picnic

Photography

Aleksandr Knyazhinsky

Editor

Ludmila Feyginova

Costume designer

Yelena Fomina

Music

Eduard Artemyev

With

Aleksandr Kaidanovsky (the stalker)
,
Anatoly Solonitsyn (the writer)
,
Nikolay Grinko (the professor)
,
Alisa Freindlikh (the stalker’s wife)
,
Natasha Abramova (the stalker’s daughter)

Festivals

Venice 2016

Elsewhere

Presented in Association With

WGN Film Society

The mysteries and revelations of Andrei Tarkovsky’s science fiction masterpiece are returned to the giant screen in Mosfilm’s splendid new digital restoration.

“With its emphasis on landscape, texture and atmosphere, this brooding, dystopian science fiction… is as much environment as movie.” — J. Hoberman, Village Voice

“Andrei Tarkovsky’s 1979 masterpiece, like his earlier Solaris, is a free and allegorical adaptation of a sci-fi novel, Arkady and Boris Strugatsky’s Roadside Picnic. After a meteorite hits the earth, the region where it’s fallen is believed to grant the wishes of those who enter and, sealed off by the authorities, can be penetrated only illegally and with special guides. One of them (Aleksandr Kaidanovsky), the stalker of the title, leads a writer and a professor through the grimiest industrial wasteland you’ve ever seen. What they find is pretty harsh and has none of the usual satisfactions of sci-fi quests, but Tarkovsky regards their journey as a contemporary spiritual quest. His mise en scène is mesmerizing, and the final scene is breathtaking. Not an easy film, but almost certainly a great one.” — Jonathan Rosenbaum, Chicago Reader

“A dense, complex, often-contradictory, and endlessly pliable allegory about human consciousness, the necessity for faith in an increasingly secular, rational world, and the ugly, unpleasant dreams and desires that reside in the hearts of men… ‘The world is ruled by cast-iron laws, and it’s insufferably boring,’ says the writer during his introductory scene, but Stalker, exuding a sense of the unknown and intangible, refutes this assertion at nearly every turn.” — Nick Schager, Slant