Sogni e visioni del cinema di Tarkovskij

In every tarkovskian film there are dreams and visions. In this essay I fix my mind on dreams since 1979 with Apocalypse as main subject. I examine the only long dream in Stalker, the one by the hero of Nostalghia in the church invaded by water and, finally, the dreams of The Sacrifice. Into the meaningful oniric visions of Tarkovskij there are formal solutions of strong visual impact and chromatic alterations, specular and reflected images and recreation of another world. The stalker awakes from his dream more resolute and able to infuse courage in his companions. In Nostalghia for Gorchakov the oniric vision is the inner preparation of the mission he esitates to carry out. In the last film the apocalyptic dreams push Alexander towards the hardship-sacrifice of all he loves in order to leave a sign in a world poor of values and highly destructive. For common sense the choices of this characters may appear meaningless and unnecessary. In tarkovskian artistic universe, fed by Russian culture and tradition, they have a deep meaning, open the way for hope and reliance in the future.