Stalker ’s characters move through poetically-charged landscapes of industrial ruins and resurgent nature, with Tarkovsky’s camera often lingering on abandoned artifacts and apparently contaminated landscapes. With Stalker, Tarkovsky also originated a post-Soviet and post-industrial genre of photography which seeks to document sites of decay and abandonment, today widely consumed on the internet and in magazines and glossy photo books. In many ways we are still trying to be Tarkovsky’s contemporaries. Tarkovsky radically advanced artistic representations of the post-industrial, while updating and complicating existing aesthetic tropes. Among those elements which are essential to Stalker ’s identity and reputation are the depictions of post-industrial landscapes and environments.
Stalker ’s mesmerizing imagery and slowly unfolding cinematography continues to inspire artists and filmmakers. Its philosophical meditations and spiritual themes seem as relevant as ever. The film, celebrating its fortieth anniversary this April, still retains the power to mystify and confound contemporary audiences. As Andrei Tarkovsky’s seminal film Stalker marks its 40-year anniversary this year, architect and urban planner Ryan Madson reflects on the aesthetics of the post-industrial and looks at how the film can help us speculate about a world in which the human condition is increasingly circumscribed.Īndrei Tarkovsky’s Stalker (1979) is as enigmatic as it is visually arresting.
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