Beyond the edges of the frame influential filmmaker Andrei Tarkovsky give the viewers a sense of time passing, time lost, and the relationship of one moment in time to another. Broadcast on BBC2 Arena, 13 March 1987. Contains interview footage with Tarkovsky as he discusses each of his seven major films. He also talks about his world-view and his philosophy of filmmaking. Tarkovsky candidly and articulately discusses the difficulties of making films under the censors of the Soviet Union. He explores his aesthetic ideology, filmmakers he admires, and his eventual self-exile from Russia. He talks about recurring images in his movies - water, horses, fire, snow - but adamantly refuses to divulge what they mean, as he feels that would impose his own meaning onto the audience. At times cagey and resistant to interviewers, Tarkovsky nevertheless reveals his vision and his rigorous devotion to his art. The film also includes footage of a Tarkovsky lecture to young film students in which he expresses his thoughts on modern cinema. Tarkovsky's widow Larissa is also interviewed. Contains no original Tarkovsky footage/interviews.

纪录片“塔可夫斯基执导/ 场面调度：安德烈·塔可夫斯基 Regi Andrej Tarkovskij”，取材于拍摄《牺牲》期间留存下来的超过50小时的幕后影像资料，加上选取塔氏的著作《雕刻时光》以及塔氏接受的访谈，由剪辑师Michal Leszczylowski剪成97分钟的纪录片，带中文字幕。该片详尽地介绍了一代电影大师塔可夫斯基的工作，思考，以及对电影的感受，是非常珍贵的关于塔氏的资料。 幕后：·1986年冬，正在巴黎拍摄摄影片《牺牲》的塔科夫斯基突然得到一个消息：多年来被苏联政府扣为人质儿子来到巴黎。在得到塔科夫斯基的同意之后，法国纪录片大师克里斯?马尔凯立即带着摄像机来到拍片现场，记录了这位当代电影史上别具一格的电影诗人最后的工作瞬间。一个月后，塔科夫斯基因病卧床不起，只能躺在床上观看刚刚拍完的电影素材。 ·房屋在燃烧的时候，胶片却卡在了摄影机里面，工作人员无法重新安装。于是只好重新建造了一栋房子，然后再把它烧了。

Un rarissimo documentario del 1984 di Donatella Baglivo

塔可夫斯基何以成为纯电影，是他对视觉质料的运用，让观众通过视觉的方式，触碰他构建的世界……他所营造的一切，都是为让两个世界的心灵彼此共鸣、交流、系结，体验其之所是。而这种在体验(而非理智)中获取的对生活的哲学洞察，是塔可夫斯基式的电影哲学的关键所在。 还有，塔可夫斯基对雕刻时间无比执着，因为对时间的操控并呈现其本身的结构，是电影之所以存在的最为独特的意义。 ——塔可夫斯基的电影，正是这样一种用电影做哲学的方式

Dedicated to the 80th anniversary of the director. The film uses unique materials related to the years Tarkovsky spent in Italy: Florence, where he lived, and where his museum now exists, at a place called Banja Vignoni, where "Nostalgia" was filmed in the house of the Italian screenwriter Tonino Guerra. The film will include rare unique images: young Tarkovsky on the set, fragments of the documentary "Time of travel", which was filmed in Italy by Andrei Tarkovsky with Tonino Guerra. For the first time viewers will see the location of filming of "Stalker" in Estonia...

Documentary made by Denis Trofimov looking at last years of Andrei Tarkovsky's life. Film starts and ends with an episode of Nostalghia (Oleg Yankovsky walking with the candle). Main reflexion of the movie is that this way is a metaphore for great director's living. Beside interviews with cinema authorities, film features also some unique archival footage of Tarkovsky.

Film essay on the mystical dimension of Tarkovsky's cinema.

《安德烈·塔科夫斯基的一天》（Une journée d’André Arsenevitch，克里斯·马凯，1999年|55分钟|录像|黑白与彩色|有声）记录了苏联电影大师安德烈·塔科夫斯基（1932—1986）生命中最后的瞬间并回顾了他的电影艺术生涯。1986年冬，正在巴黎拍摄影片《牺牲》的塔科夫斯基突然得到一个消息：多年来被苏联政府扣为人质儿子来到巴黎。征得塔科夫斯基同意后，法国纪录片大师马凯立即带着摄像机赶往拍片现场，记录了这位当代电影史上别具一格的电影诗人最后的工作瞬间。一个月之后，塔科夫斯基因病卧床不起，只能躺在床上观看刚刚拍完的电影素材。本片既是对塔科夫斯基拍摄最后一部影片的工作记录，也是对他毕生艺术道路的高度总结。本片导演克里斯·马尔凯（Chris Marker）1921年生于巴黎近郊，从影之前当过新闻记者、摄影师、评论家，从影之后依然笔耕不辍。因此，他的影片兼具电影与文学两种艺术形式之长，对摄影机的运用如同自来水笔那样挥洒自如。同时，他的影片关注世界各地的政治事件，并以独特的个人化视点读解这些事件，他在1968年法国“五月风暴”之后拍摄的影片尤其如此。在将近50年的电影生涯中他拍摄过将近50部影片，如《1952年奥运会》（1952）、《北京的星期天》（1955）、《西伯利亚来信》（1958）、《海堤》（1963）、《美丽的五月》（1963）、《远离越南》（1967）、《红色天空》（1977）、《无日》（1982）、《亚历山大之墓》（1993）等等。进入21世纪，年逾八旬的马凯继续为观众带来新的作品，如《未来的记忆》（2001，与雅尼克·贝隆合作）、《栖息的猫》（2004）。（关于马凯拍摄影片《北京的星期天》的情况，参见张献民《与朗兹曼谈〈浩劫〉》，载《当代电影》杂志2004年第5期“2004北京国际纪录片展”专辑）。

Documentary on the final years in the life of director Andrej Tarkovsky, who died in 1986, including his exile in Western Europe. The film shows the degree to which the themes of his films, NOSTALGHIA and the SACRIFICE almost literally came to encapsulate the director's own life and death.