فلسفة الكينونة | السينما المقدسة لأندريه تاركوفيسكى

Andrei Rublev (1966)

Religious films are not end-points, but beginnings Mystical cinema is about becoming, travelling, transcendence. It partakes of the nunc fluens, the 'now-streaming' of Eastern philosophy (to use Alan Watts' phrase)' Cinema is part of a flow. It is, like water, flow itself, an unending process of change and motion (Tarkovsky fills his films with flowing water). Mystical cinema, to be successful, must be aware of its being as well as its becoming. The film image exists in the present, as it's being projected. Everything else is memory - memory of an image, an event, a sequence (a memory of an Elsewhere, a Never There). The tension in the viewing experience of cinema is between the static frame or screen, which seems to contain and freeze the image, and the constant flow of images, over time (ignoring for the moment 10,000 other factors). The two are reconciled in the viewer and her/ his sense of Western time, narration and ontological expectations. Cinema satisfies the need for large doses of time and experience, it seems (people go to the cinema for time, for time lost, said Tarkovsky in Sculpting in Time, in a Proustian/ Bergsonian mood). Tarkovsky said in an interview that "what people are looking for in cinema is a continuation of their lives, not a repetition".

- Jeremy Mark Robinson , The Sacred Cinema of Andrei Tarkovsky, THE PHILOSOPHY OF BEING, Crescent Moon Publishing, 2006, Maidstone, pp 81.