If asked at gunpoint, I might identify Stalker as my favourite film of all time. Not only is it visually astounding in its imagery, camerawork, lighting, composition and colour, it is also thematically rich, philosophically dense and has some of the most thought-provoking discourse on art and faith committed to film.
Sepia tones, luscious green landscapes and shadowy indoor compositions are switched between at multiple points of the film; all three of them being executed with style and a sense of ominous wonder. Unfortunately the incredible long tracking shots don't come across in still images, but these at least capture some of the striking imagery and cinematographical mastery on display.
Top 3:
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| One of the film's strengths is getting across a sense of surreal otherworldliness without resorting to over-the-top imagery. This is a haunting example with indoor sand-dunes giving the scene a subtle onieric look. |
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| The lighting here is perfect, completely wiping out any discernible features from the figure while giving the rest of the frame a nightmarish look. |
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| One of the many shots in the film which carries an inexplicable beauty and sense of foreboding in a way that only Tarkovsky can capture. |
The rest:
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| This shot could be a painting, but I assure you that there is movement. |
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| The first burst of colour in the film. |
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| These pylons look like crucifixes. Certainly not a coincidence. |
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| That house looks like it's screaming. You probably don't want to go in there. |
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| I love how the mist plagues many of the outdoor shots. |
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| *shivers* |
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| I think this is a well of some sort. I have no idea how he made it look like that either. |
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| Another of my favourite shots. |
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| Ah, the tunnel scene. This scene is so terrifying just because of the way it is lit. At many points the shadows seem to move almost imperceptibly. |
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| Symbolism! |
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| It's hard to make out this shot at first, but that is a corpse. |
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