Solaris, Part 1: Background

Following the Bolshevik Revolution in 1917, Soviet cinema became a tool for propaganda, with the government heavily investing in the industry to promote communist ideology. Under Stalin, films were required to strictly adhere to Socialist Realism, depicting an idealized vision of socialist life.

This period saw less experimentation and more emphasis on straightforward storytelling. The government maintained strict control over film production, ensuring that movies aligned with political goals. This led to censorship and a focus on themes like patriotism, the heroic worker, and the triumph of socialism, etc.. 

Stalin's death brought a period of relative liberalization, known as the Khrushchev Thaw, allowing filmmakers more creative freedom, it is during this period that Tarkovsky's "Ivan's Childhood" (1962) is produced, marking the rise of one of cinema's most revered directors, that despite the ongoing censorship, was able to create his most visually stunning and thematically complex works (Solaris (1972), Stalker (1979) )  during the late Soviet period, a period in which, under Leonid Brezhnev, the Soviet Union experienced a period of political stagnation known as the "Era of Stagnation".

While the government maintained tight control over artistic expression, filmmakers found ways to subtly critique society and the state. During this period, filmmakers delved into complex themes such as identity, memory, and the human psyche, often using allegory and symbolism to critique Soviet society. 

The Late Soviet Era of cinema gained significant international recognition, winning awards at major film festivals and influencing filmmakers worldwide. The works of Tarkovsky, in particular, have been cited as major influences by numerous directors, including Ingmar Bergman, Lars von Trier, and Christopher Nolan.

Overall, the Late Soviet Era was a time of profound creativity and subtle resistance in Soviet cinema, producing works that continue to be celebrated for their artistic achievements and deep humanistic concerns.

Andrei Tarkovsky born in 1932 in Russia, was the son of a poet and studied film at the State Institute of Cinematography in Moscow, where he was mentored by the renowned director Mikhail Romm. He directed many films mostly characterized for their spiritual and metaphysical themes, to mention only a few:

Andrei Rublev (1966) explores the spiritual and artistic struggles of a 15th-century Russian icon painter.

Mirror (1975)  blurs the line between past and present using evocative imagery and a non-linear narrative.

Stalker (1979)  is a slow pace, philosophically oriented film, depicting the mundane and the mystical side of the world. 

Tarkovsky faced increasing difficulties with Soviet authorities due to the perceived anti-Soviet themes in his work. He eventually left the Soviet Union in 1984 and lived in Italy and Sweden until his death in 1986.