“The aim of art is to prepare a person for death, to plough and harrow his soul, rendering it capable of turning to good.”
– Andrei Tarkovsky
A man writes because he is tormented, because he doubts. He needs to constantly prove to himself and the others that he’s worth something. And if I know for sure that I’m a genius? Why write then? What the hell for?
I want to preface this article by saying that I have categorized this post which explores Andrei Tarkovski’s Stalker as a metaphor for art, the artist, and the power of art under the category of existentialism. However, admittedly, this is due to a circumstance of limitation. Tarkovsky, as a poet and philosopher, in his own right, approaches his films with a more holistic artistic sense and therefore his films become deeper, more dense, philosophically layered explorations which cannot be categorized under one branch of philosophy. The film is a profound journey through existential, metaphysical, and epistemological themes which, compelled by its transcendental style, implores its audience to meditate, look within, and therefore becomes something more than mere philosophy, doctrine, idea, ideology, logic, outlook, reasoning, theory, thought, truth, wisdom, etcetera. It becomes a living thing. A conscious art.
May everything come true. May they believe. And may they laugh at their passions. For what they call passion is not really the energy of the soul, but merely friction between the soul and the outside world.
Just as it is so in his film Stalker, in his book Sculpting in Time, Andrei Tarkovsky reflects on art’s purpose as a vehicle for spiritual and existential exploration. Stalker is more than a story about a mysterious Zone and the people who traverse it. It is, at its core, a metaphor for art itself. Tarkovsky is a kind of “Stalker” too, leading his audience into a new world, a world where the laws of nature do not apply. As viewers, we are led into the Zone much like the Stalker leads his companions, invited to confront our inner landscapes, question our certainties, and open ourselves to the ineffable. Tarkovsky writes, “Art must transcend as well as entertain; it must not simply provide comfort or distraction but lead the audience to discover something about their own nature, to find in the work a mirror of their own souls. The artist’s task is to guide others into realms of experience and thought where they would not have ventured alone, to confront them with the profound, the mysterious, and the eternal.”
“There’s no need to speak. You must only – concentrate and recall all your past life. When a man thinks of the past, he becomes kinder.
The Stalker’s role as a guide reflects Tarkovsky’s conception of the artist. In Sculpting in Time, he writes that art is a means of knowing the world and ourselves, a sacred act that requires vulnerability and faith. The Stalker’s unwavering belief in the Zone, despite its mysteries and dangers, reflects the artist’s commitment to a truth that may never be fully understood. A characteristic of postmodernism is its skepticism and critical re-examination of established styles and norms. This can be both a blessing or a curse to art and the artist. Tarkovsky presents both skepticism, embodied by the Writer and the Professor, and faith, embodied by the Stalker. This philosophical conflict is at the heart of the film and the seed which germinates and branches off into all other facets of humanity. Tarkovsky writes, “Art affirms all that is best in man—hope, faith, love, beauty, prayer… What he dreams of and what he hopes for. Art makes it possible for us to enter into that eternal world that we long for but cannot reach. The artist’s task is not to answer questions, but to set the framework within which the question can be posed.”
Tarkovsky describes art as a journey into the unknown, an act of creation that must resist explanation or reduction. In this way, the Zone defies clear interpretation. It is a place of transformation and revelation, not because it grants answers, but because it confronts those who enter it with their deepest fears and desires. The Stalker’s insistence that the journey itself holds meaning echoes Tarkovsky’s view that the power of art lies not in delivering messages but in evoking profound, personal reflection.
The Zone is a very complicated system of traps, and they’re all deadly.
The Zone—both beautiful and treacherous—is also a fitting metaphor for art. In Sculpting in Time, Tarkovsky speaks of art’s ability to pierce through the superficial and touch the eternal. The Zone operates in much the same way. Its landscapes, simultaneously desolate and lush, evoke a sense of the sublime. This paired with the transcendental style of “slow cinema” draws the characters and viewers alike into a heightened state of awareness and introspection. Tarkovsky writes, “The aim of art is to prepare a person for death, to plough and harrow his soul, rendering it capable of turning to good. Touched by a masterpiece, a person begins to hear in himself that same calling of truth which prompted the artist to his creative act.”
Just as the Zone resists comprehension, so does art. Tarkovsky argues that true art engages the soul, creating a dialogue that transcends language and intellect. The Zone’s ambiguity invites this kind of engagement, demanding that its travelers bring their own interpretations and vulnerabilities to the experience.
You put your heart and soul into your work and they devour you. They even devour the filth in your soul. They’re all literate. They all have voracious appetites… I used to think my books helped people to become better, but nobody needs me. If I die, in a couple of days, they’ll find someone else to devour. I wanted to change them, but they’ve changed me to fit their own image.
The Stalker’s role is not without cost. He bears the burden of guiding others while being misunderstood and ridiculed, much like Tarkovsky’s own experiences as a filmmaker. In Sculpting in Time, he describes the artist’s path as one of sacrificed. Tarkovsky writes, “The artist exists because the world is not perfect. Art would be useless if the world were perfect, as man wouldn’t look for harmony but would simply live in it. Art is born out of an ill-designed world. The artist has to pay for his involvement, for the burden of bringing truth to the world, by the inevitable spiritual loneliness that is the result of his vocation.” The Stalker’s faith in the Zone shows this dedication and devotion, even as his companions question his motives and the Zone’s legitimacy.
Tarkovsky also emphasizes the loneliness inherent in this process. The artist, like the Stalker, is often isolated by the very thing that compels them. Yet, this isolation is not despair; it is a necessary part of the journey. The Stalker’s tireless efforts to lead others to the Room, whether they choose to enter or not, highlights the artist’s commitment to offer the possibility of transformation, maybe transcendence, yet with great personal cost.
My conscience wants vegetarianism to win over the world. And my subconscious is yearning for a piece of juicy meat. But what do I want?
Ultimately, Stalker suggests that the true power of art lies in its ability to reflect the viewer’s own soul. The Zone does not impose meaning; it reveals it. The Room fulfills one’s innermost desires, this functions as a mirror into the soul. It allows the viewer to ponder, to think about entering the Room themselves and if they were to enter the Room what would be their inner most desire fulfilled? Would it be something wonderful or tragic? This question posed by the film makes it a timeless act of self-reflection, allowing the viewer to visit this very same contemplation at different times in their lives resulting in different answers.
_____
Conclusion
Stalker is not just a film, it is an act of artistic communion. Through the Stalker’s journey and Tarkovsky’s vision, we are invited to experience art as a process of discovery, a journey into the unknown where meaning is not given but found. Tarkovsky writes that the role of the artist is to “bring his audience back to their own sense of life.” Stalker achieves this with haunting beauty, reminding us that art, like the Zone, exists not to provide answers but to guide us toward our own questions, and ultimately, toward our true selves.
Reading List
Sculpting in Time by Andrei Tarkovsky
