In the autobiographical documentary Voyage in Time (1983), Tarkovsky says he viewed Solaris as an artistic failure because it did not transcend genre as he believed his film Stalker (1979) did, due to the required technological dialogue and special effects.

Wikipedia contributors. (2024, April 25). Solaris (1972 film). In Wikipedia, The Free Encyclopedia. Retrieved May 1, 2024, from https://en.wikipedia.org/w/index.php?title=Solaris_(1972_film)&oldid=1220681837

Stalker (1979 film) (Wikipedia) Stalker (Russian: Сталкер, IPA: [ˈstaɫkʲɪr]) is a 1979 Soviet science fiction film directed by Andrei Tarkovsky with a screenplay written by Arkady and Boris Strugatsky, loosely based on their 1972 novel Roadside Picnic. The film tells the story of an expedition led by a figure known as the “Stalker” (Alexander Kaidanovsky), who guides his two clients—a melancholic writer (Anatoly Solonitsyn) and a professor (Nikolai Grinko)—through a hazardous wasteland to a mysterious restricted site known simply as the “Zone”, where there supposedly exists a room which grants a person’s innermost desires. The film combines elements of science fiction and fantasy with dramatic philosophical, and psychological themes.

Solaris (1972 film) (Wikipedia) Solaris (Russian: Солярис, tr. Solyaris) is a 1972 Soviet science fiction drama film based on Stanisław Lem’s 1961 novel of the same title. The film was co-written and directed by Andrei Tarkovsky, and stars Donatas Banionis and Natalya Bondarchuk. The electronic music score was performed by Eduard Artemyev and features a composition by J.S. Bach as its main theme. The plot centers on a space station orbiting the fictional planet Solaris, where a scientific mission has stalled because the skeleton crew of three scientists have fallen into emotional crises. Psychologist Kris Kelvin (Banionis) travels to the station to evaluate the situation, only to encounter the same mysterious phenomena as the others.

In the autobiographical documentary Voyage in Time (1983), Tarkovsky says he viewed Solaris as an artistic failure because it did not transcend genre as he believed his film Stalker (1979) did, due to the required technological dialogue and special effects.

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