In April 2022, in order to commemorate the 90th anniversary of the birth of Russian director Andre takovsky (1932-1986), the art cinema of China Film Archive launched the activity of "Andre takovsky works retrospective exhibition", showing a total of seven of his films. One of the "Holy Trinity of world modern art film" Andre Tarkovsky is the son of the poet arsheniy Tarkovsky. He studied in the school of music, the school of fine arts and the Academy of Oriental languages. He graduated from the Soviet Film Academy in 1961. The first feature film "Ivan's childhood" won the Golden Lion Award at the Venice Film Festival in 1962, and "Andre lubliov" screened in 1966 won the fabisi Award; The following "flying into space" (1973), "mirror" (1975) and "stalker" (1979) are highly praised by audiences and art lovers; "Nostalgia" (1983), filmed in Bologna, Italy, won the best director award at Cannes Film Festival; He won the final film award of the Swedish film jury in 1986. Tarkovsky is deeply influenced by Russian, French and German thoughts and oriental culture. With his broad and profound noble temperament and solemn and gloomy poetic narration, he has undoubtedly become one of the "Holy Trinity of world modern art films" (the other two are Swedish film director Ingmar Bergman and Italian film director Federico Fellini), And received the support and praise of Ingmar Bergman: "watching Tarkovsky's film at first is like a miracle. Suddenly, I feel like I'm standing in front of the door, but I never get the key to open the door. That's the room I've been longing to enter, but he can walk freely in it. I feel encouraged and inspired: finally someone shows the realm I've wanted to express for a long time, but I don't know how to express." When Tarkovsky was six years old, his mother began to read War and peace to him, and his films "inherited those factors belonging to Russian Literature: confession, self sacrifice and god seeking". His favorite poets and writers are Pushkin and Dostoevsky. At the same time, he also likes Oriental cultures such as Shakespeare, soloviyov, leontev, bergayev, Herman Hesse and China and Japan. He often quotes writer Herman Hesse as saying: "everyone is not just himself. He is also a point of intersection with many events in the world. This intersection is only once, and this point is unique, meaningful and outstanding." This sentence not only summarizes Tarkovsky's personality as an artist, but also summarizes the commonness of intellectuals - "he is not just himself". Rebuilding the covenant with the source of the soul Bergayev said: "it is rare for Russian intellectuals to be sensitive and affectionate. Russians not only write perfect works in their creative enthusiasm, but also live a perfect life in this enthusiasm." As an intellectual and artist, Tarkovsky also "worries about the world first" in this way of "artistic practice" and "complete behavior". It is said that in the world film history, no film director can have such persistent and deep concern for the human spirit as Tarkovsky. Tarkovsky also admitted that the deepest worry in his heart is "the barren spiritual space in our culture. We have expanded the field of material wealth, but deprived people of the spiritual dimension and ignored its threat". However, he firmly believes that "a person can rebuild his covenant with his own soul source, so as to restore his relationship with the meaning of life. The way to regain moral integrity is to sacrifice himself". In Ivan's childhood, Ivan's mother and sister were killed by German gunfire, and his father died, while his mother died at the moment when they met happily. Every memory of that moment made Ivan walk on the edge of hell - at that moment, all the people and beauty in the world who shared time memory with Ivan were destroyed by war. He said painfully, "my nerves are breaking down. I'm not used to praying. I hate everything." This is the disillusionment and nothingness of a 12-year-old child in the face of an absurd war. Takovsky juxtaposed the brilliance, pleasure and beauty of children with the darkness, blood and absurdity of war, and criticized all kinds of wars launched by mankind with full tension; In order to avoid the sacrifice of his comrades in arms, Ivan took advantage of his thin and small body and was not easy to be noticed by the enemy, risking to bring back the front line news to the Soviet army. He hoped that his dead comrades in arms could "go to earth for peace", but he was caught by the German army and hanged. The teenager obtained the integrity of existence and morality in his "sacrifice". The "worry" about intellectuals appeared in many other films of TASS. The character in the film nostalgia said: "everyone pursues happiness, but some things are more important than happiness." This sentence reflects the director's cognition of the highest state of existence of Intellectuals: "artistic creation is not self-expression or self realization, but self sacrifice to create another reality and spiritual existence." In the film, writer Andre and math teacher Dominic present the known spiritual existence in the way of "sacrifice / creation", so as to "arouse people's kind feelings", sublimate spirit and stimulate faith. Gogol said in a letter in 1848: "my job is to preach in a living image, not in eloquence. I must show the whole picture of life, not discuss life." In the film sacrifice, if gory's view is the same, Alexander is disgusted with his "say, say, say" all the time. He said: "I understand Hamlet now. It's unbearable to talk loudly. Immediately stop talking and do something practical!" Alexander saved the world with practical actions and kept his promise. Finally, he was forcibly taken away by people in the hospital as a madman. As a well-read intellectual, the stalker in stalker is deprived of everything in prison. He has nothing materially and can't bring anything to his wife. However, he hopes to help those "who have been desperate and no one can help". He is "only left in the forbidden area". His happiness, freedom and self-esteem are here. The people he brings are as unhappy as him. He said, "they only have me". "Stalkers" dedicate themselves to these hopeless and even "skeptical" people like sacrifice, and take risks to lead them into the "forbidden zone" symbolizing freedom and spirituality. In Piccadilly's speech, Tarkovsky discussed the intellectual's "love for myself". He said that he "has not been very interested in pleasing himself. Maybe this is the beginning of my love for myself". This kind of "love", which goes beyond the level of perceptual and rational existence, is precisely sublimating the highest existence of man defined by Kierkegaard, making the simple behavior of the best "love" become the core element determining the meaning of human existence and sublimating human existence. The tension between spiritualized men and everyday women Takovsky put Socrates' plaster sculpture in the film flying into space, introduced his view that "knowledge is virtue" into the film and further extended its logic. The young Burton in the film "does not agree with the pursuit of knowledge at any cost". He believes that "knowledge is effective only on the basis of morality". In the film sacrifice, Alexander said: "people continue to invade nature and build civilization on intimidation, violence and power. All our 'scientific and technological progress' is just to get pleasure more quickly... Once we get a scientific breakthrough, it will be used to promote evil." With the development of scientific and technological knowledge, if knowledge is not based on "morality", it will inevitably lead to uncontrollable stages of things' development, such as Hiroshima atomic bomb incident, Chernobyl incident and various biochemical factory explosions. Tarkovsky portrays all kinds of people in the film: road builders, schoolchildren, child scouts, military officers, adventurers, wandering artists, icon painters, Archduke, Tatar, idiot, bell caster, proofreader, scientist, stalker, mother, biographer, Saint fool, female tour guide, psychologist, Professor, doctor, postman, wizard, actor, and even "ghost". In addition to the mirror, almost all the protagonists in Tarkovsky's films are men. Through their participation in human history and civilization activities in different time and space, the directors present the stop of Russian men in the grand field: they seek truth in philosophy and try to explain the significance of human existence, and practice and define hope in Russian theological culture. Fiofan in Andre lubliov disagrees with lubliov. He wants to leave the monastery and return to the secular world and only serve his own faith, "because monks put interests above faith". Like intellectuals, lubliov still holds the vision of serving and saving mankind, hoping that his ethnic group can be freed from famine, disease and the captivity and killing of Tatars, This is different from the realm of fiofan becoming the "star and sea" leading all sentient beings. Dostoevsky said in the karazov brothers: "the Russian boys get together and talk about the problems of the whole universe: for example, is there a God? Is there eternal life? What is the fate of the Russian nation?" Tarkovsky's films also pay more attention to the grand problems of mankind, less depict the romantic love between men and women in the family, and more present the different demands, disputes and reconciliation between men and women in the family space. In "flying into space", there is a wife who commits suicide in anger with her husband; In the mirror, a wife ridicules her husband's superiority; In the stalker, the wife hysterically releases her anger to her irresponsible husband and turns to forgive and encourage him; In homesickness, there is a differentiated communication between middle-aged intellectuals and young women; In sacrifice, the wife has strong control over her husband. The female translator in the film homesickness laughed at Andre and said that they intellectuals seemed to "yearn for freedom, but once they got it, they didn't know what to do". This expression is also a description of the existing situation of intellectuals in the confused period. The wife in the movie "stalker" knows that living with "God's fool", "poor bastard", "stalker" whom everyone laughs at will be "bittersweet". Even so, it will be "better than a gray and calm life" - this is the encouragement and hope given by the wife when the "stalker" is desperate for "distrust" of the social elite. Soloviev believes that Russian women with Sofia characteristics are different from men. They have both divine and secular sides. They are silent in the noisy male world, but they are constructed as a fantasy copy of the eternal other world. Many perfect advantages of them make up for the lack of Russian men in daily life. "Who am I" and "is creativity a sin" In "stalker", there is also confusion and confusion about "who I am". When people are not sure who they are and where they come from, they "just want to know what they want and how to know what I don't want or what I really don't want