In this book, Sean Martin considers the whole of Tarkovskys oeuvre, from the classic student film The Steamroller and the Violin, across the full-length films, to the later stage works and Tarkovskys writings, paintings and photographs. Martin also seeks to demystify Tarkovsky as a difficult director, whilst also celebrating his radical aesthetic of long takes and tracking shots, which Tarkovsky was to dub imprinted or sculpted time, and to make a case for Tarkovskys position not just as an important filmmaker, but also as an artist who speaks directly about the most important spiritual issues of our time.
