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eisenstein gay

As a teenager, Sergei Eisenste signed his drawgs wh "Sir Gay". Mark Rappaport se clear signs of his sexual preferenc throughout the Rsian’s film ovre. Numero asis illtrate how Hollywood productns likewise equently played wh nods and wks and typil motifs om gay culture.

Contents:

FILM CLAIMG DIRECTOR SERGEI EISENSTE HAD GAY LOVE AFFAIR SHUNNED RSIA

Did you know actn cema was vented by a gay geni? * eisenstein gay *

Get our ee weekly email for all the latt cematic news om our film cric Clarisse LoughreyGet our The Life Cematic email for eeThe legendary film director Sergei Eisenste is nsired one of the proust figur Rsia’s cultural history, but whether a new movie about his life – and an alleged gay love affair particular – will ever be screened his home untry is grave doubt.

Femke Woltg, the producer of Eisenste Guanajuato, nfirmed that Rsian distributors and producers refed to back the film bee of s open pictn of the director’s homosexualy.

We tried to get Rsian distributors aboard and a Rsian producer possibly to accs fance om Rsia but all were impossible bee of the fact that film showed that Eisenste was gay. Eisenste's 1925 'Battlhip Potemk' is perhaps his most revered film“In Rsia, there is a very, very aggrsive attu toward gay people which is a disgrace. “On the other si, I don’t re if Eisenste was gay.

GREENAWAY OFFENDS RSIA WH FILM ABOUT SOVIET DIRECTOR'S GAY LOVE AFFAIR

Is Daniel Eisenste Gay? Come and disver what has been said lately about this and what is Daniel Eisenste sayg about this. * eisenstein gay *

“To the image of Eisenste, this [Eisenste’s homosexualy] don’t add anythg. The A-list opposg Rsia's anti-gay lawsShow all 15Others disagree, potg to homoerotic drawgs and patgs that Eisenste ma and makg the argument that Eisenste’s work changed dramatilly tone after his experienc Mexi.

IS DANIEL EISENSTE GAY?

Is Alexa Eisenste Gay? Come and learn what has been stated lately about this and what's Alexa Eisenste sayg about this. * eisenstein gay *

So ’s no surprise that Rsia – s crackdown on ee exprsn and s reprsive stance on homosexualy – has been touchy about Peter Greenaway’s pictn of the figure his new feature Eisenste Guanajuato, which premiered at the Berl Internatnal Film Ftival last Brish tr director displays his typilly transgrsive irreverence pictg the natnal hero’s 10-day love affair wh a male gui Mexi, offendg a Rsia that prevly celebrated him for cimatg palist vulgary his 1989 masterpiece The Cook, The Thief, His Wife and Her the ftival, Greenaway was cheerful, unapologetic form. “Put has enuraged this homophobia, ” Greenaway said.

FILM REVIEW; MEET EISENSTE: PUNKER, MISF AND GAY RENEGA

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“I have lots of iends St Petersburg and Mosw and they don’t feel [homophobic] at all. “When they retrospectively learned that we’d picted a homosexual relatnship the first one they got sred, ” he said.

The director argu that any pictn of a historil figure is a subjective terpretatn, and that Eisenste’s stggl wh his sexualy are well suggts the director’s marriage to his secretary Pera Atasheva was strictly one of nvenience: “There was a new Stal law which crimalised homosexualy, and there is a lot of evince that he was very sceptible, and anx about his sexualy.

”Film historians have often poted out that homosexual imagery is rife Eisenste’s films.

IS ALEXA EISENSTE GAY?

* eisenstein gay *

Sergei Eisenste (1898-1948), history's greatt gay filmmaker, was also among s most important along wh Griffh, Godard, Lubsch, Antonni, Dreyer, and Sternberg. There's the ual Greenaway spl screens, projectns, dramas and terspersed background material (visual footnot) that help tell the story of a gay artist exile but whose imagatn and artistic and sexual drive never make him a stranger a foreign land, Eisenste exposed himself, body, tellect, soul--even the unfished film is yet a masterpiece.!

The radiant inography is sensual--even spirual-- a style siar to what ma the sailors Battlhip Potemk still some of the most homoerotic portraure cema history. ")Still om Battlhip PotemkEisenste's homosexualy (discsed even ls by film scholars than the German master F. For Greenaway, the artist's gayns is an extensn of that "same passn" (homo-sensivy?

They first experience sita then timacy--'s one of the most ft and ep gay male relatnships ever put on screen. ) In a surreal pl, Greenaway animat Eisenste personal notebook of Pisso-like om Eisenste GuanajuatoEisenste's eccentricy beme the butt of smart-ass parody Ghostbters II (actor Peter McNichols' mad-geni wh a red Ao), but tellectual Greenaway don't nscend to mastream anti-tellectualism or unnsc homophobia. The revealg, adult timacy here mak this a breakthrough film-- b sexual and emotnal ankns Sergei and Canejo's terurse ("I have reached my acctomed pot and this is where I stop") that surpass most gay-intifyg, polilly rrect moviemakers.

IS JSI EISENSTE GAY?

Special Episo om Riga. Archect Eisenste, gay om Chechnya, Artdocft farm: Wh Anton Dol, Zara Abdullayeva, Valiy Manskiy. Rults of "Artdokft" - ncellatns Rsia and farm releas Latvia. Which Eisenste is famo Riga? Short terview wh Valy Mansky." data-id="ma * eisenstein gay *

The exuberance, eroticism, sight and valuable troductn to a giant of cematic and gay history make this extravaganza 2016's queer movie moviegoers are creasgly subject to mory-group marketg and often fall for beg stereotyped and segmented by Hollywood. Several Petrograd publitns put his works prt, though he signed them unr the assumed name “Sir Gay.

He was found posssn of a number of que homoerotic artworks at one pot. Ctoms officials disvered homoerotic drawgs and photographs, some of which clud relig imagery, a bed shipment of his and Sclair’s belonggs.

SERGEI/SIR GAY

Is Alexa Eisenste Gay? Come and learn what has been stated lately about this and what's Alexa Eisenste sayg about this. * eisenstein gay *

Though Eisenste’s sexual clatns were never nfirmed, he had long been spected of beg homosexual, a theory rroborated by the materials nearly 300, 000 feet (91, 440 metr) of footage shot for Que viva Mexi! Was Albert Este gay?

As wh many other celebri, has long been speculated the qutn - Daniel Eisenste is gay? Neverthels, speculatns over whether Daniel Eisenste is gay or not are still prent certa rners of the tabloids and on var webs, once aga whout any solid foundatn.

SPECIAL EPISO OM RIGA. ARCHECT EISENSTE, GAY OM CHECHNYA, ARTDOCFT FARM

The g out of Daniel Eisenste would greatly benef untls homosexuals all over the world who are still the closet.

In any se, celebri too often refe to discs their private liv, so we never know if they are gay or straight. Vooxpopuli manag thoands of famo celebri and 's possible we missed some tails about the qutn - Is Daniel Eisenste gay?

Christiane Northup, a matriarch of women’s alternative health, who rose to fame on the strength of several “Oprah” appearanc and btsellg books, published by the New Age self-help platform Hay Hoe, whose founr, Louise Hay, was famo for tellg gay men dyg of AIDS that they jt didn’t love themselv enough.

THE GAYT OLYMPICS EVER

Homosexually cled (although married), he f the prototype of the artist as social misf and pulsive dazzlgly played by the Brish actor Simon McBurney the film, he bears remblanc to everyone om the punk rocker Johnny Rotten to the ntemporary director Peter Sellars.

''Eisenste'' imag a gay relatnship between Eisenste and his protégé that tak a nasty turn when Grisha be Eisenste's unofficial we first meet the director, is 1921, and Mosw is giddy wh revolutnary fervor.

A versn of this article appears prt on, Sectn E, Page 5 of the Natnal edn wh the headle: FILM REVIEW; Meet Eisenste: Punker, Misf and Gay Renega.

IS ALEXA EISENSTE GAY?

Herbert Marshall (not to be nfed wh the actor of that name), a Brish ex-disciple of Eisenste at the Mosw Film School, pared his profsor to a Rsian matrihka woon doll: a doll hidg wh another doll, hidg another doll, hidg another doll… “Outsi [Eisenste] was a Soviet Rsian[;] si, acrdg to some, he was a Christian, to others he was a Jew, to yet others a homosexual…. And addn, there are reasons to believe that Eisenste’s creative drive homosexualy played a very important role. Or should I say, homosexual.

” Eisenste mataed his strong, lifelong homosexual clatns “ the closet, ” hidn om the official homophobia of the Soviet Unn that would, some s later, rult a five-year imprisonment for a ls pnt filmmaker, Sergei Paradjanov. He was ught a much publicized sndal when homoerotic drawgs and male nu photos found his luggage were seized by U. Jt like many other celebri, has always been speculated the qutn - Alexa Eisenste is gay?

*BEAR-MAGAZINE.COM* EISENSTEIN GAY

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noopener" target="_blank"><div class="SocialInContaer-huXzUC pMzVC social-ins__in-ntaer"><svg class="SocialInNetworkInComponent-cZaKGz dlOAhZ in in-bookmark" width="24" height="24" viewBox="0 0 24 24" fill="none" xmlns="><tle>Save Story</tle><path class="in-bookmark-fill" d="M20 23.9508L12.5 19.7312L5 23.9508V2.95081H14V3.93211H6V22.1845L12.5 18.5536L19 22.1845V8.83866H20V23.9508Z" fill="black"></path><path class="in-bookmark-stroke" d="M23 3H20V0H19V3H16V4H19V7H20V4H23V3Z" fill="black"></path></svg></div></a></li></ul></div></div></div><div class="GridItem-buujkM eHLzLy grid--em"><div class="SplScreenContentHearLeadWrapper-jYfGAC kBeEbL"><div data-ttid="ContentHearLeadAsset" class="SplScreenContentHearLeBlock-nUOA cwQiEB"><span class="SpanWrapper-umhxW jvZaPI rponsive-asset SplScreenContentHearLe-bGywFh sxTal"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SplScreenContentHearLe-bGywFh sxTal rponsive-image"><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w, 960w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w, 1920w, 2240w" siz="100vw"/><img alt="Andrei Tarkovsky" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></picture></span></div></div></div></div><div class="GridWrapper-cAzTTK eRggVV grid grid-margs grid-ems-0 SplScreenContentHearGrid-kFpOdh fLkIyA"><div class="GridItem-buujkM kHPPIF grid--em"><div class="CaptnWrapper-jSZdqE iTuhkZ ptn SplScreenContentHearCaptn-iOfEOv ckLUKG"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnText-bHjzlu iUEiRd hWyo iXWezO ptn__text">Among directors, Tarkovsky has bee a godlike figure, his signature motifs imated to the pot of beg clichés. He is the chief exemplar of what is sometim lled slow cema, which the mera lgers long tak on stere landsp and scen of mimal activy.</span><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnCred-ejegDm iUEiRd iicloT jbIJNS ptn__cred">Photograph om Alamy</span></div></div></div></hear></div><div data-attribute-verso-pattern="article-body" class="ArticlePageContentBackGround-cNiFNN iEWtkN article-body__ntent"><div class="ActnBarWrapperContent-lasBkU cAHp"><div class="ActnBarWrapperComponent-cjwxLS bEeSLb"><div data-attr-viewport-monor="" class="ActnBarWrapper-dhxmQh kNjTbQ viewport-monor-anchor"><button id="bookmark" aria-label="Save this story" class="ActnBarButton-dyFOZU hQrwCF bookmark large-screen"><span class="ActnBarSendaryButtonPrimaryIn-isbvyN cAwccV bookmark-button-in"><svg class="in in-bookmark" width="24" height="24" viewBox="0 0 24 24" fill="none" xmlns="><tle>Save this story</tle><path class="in-bookmark-fill" d="M20 23.9508L12.5 19.7312L5 23.9508V2.95081H14V3.93211H6V22.1845L12.5 18.5536L19 22.1845V8.83866H20V23.9508Z"></path><path class="in-bookmark-fill" d="M23 3H20V0H19V3H16V4H19V7H20V4H23V3Z"></path></svg></span><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ ActnBarButtonText-bYXYuh iUEiRd bkefvo gkccfO">Save this story</span></button></div><div data-attr-viewport-monor="" class="ActnBarWrapper-dhxmQh kAEsuD viewport-monor-anchor"><button id="bookmark" aria-label="Save this story" class="ActnBarButton-dyFOZU cjjxgx bookmark mobile"><span class="ActnBarSendaryButtonPrimaryIn-isbvyN cAwccV bookmark-button-in"><svg class="in in-bookmark" width="24" height="24" viewBox="0 0 24 24" fill="none" xmlns="><tle>Save this story</tle><path class="in-bookmark-fill" d="M20 23.9508L12.5 19.7312L5 23.9508V2.95081H14V3.93211H6V22.1845L12.5 18.5536L19 22.1845V8.83866H20V23.9508Z"></path><path class="in-bookmark-fill" d="M23 3H20V0H19V3H16V4H19V7H20V4H23V3Z"></path></svg></span><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ ActnBarButtonText-bYXYuh iUEiRd bkefvo gkccfO">Save this story</span></button></div></div></div><div class="LightboxWrapper-dxsWBV hhylRt"><div class="ArticlePageChunksContent-etcMtP bwyLBj"><div data-ttid="ArticlePageChunks" class="ArticlePageChunks-fLyCVG Uozmo"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ArticlePageChunksGrid-hfxa bjczjj grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="BodyWrapper-kufPGa EOneK body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ ArticlePageIssueDate-gHarAr iUEiRd iklptv cESBWk">From the issue of<!-- --> Febary 15 & 22, 2021 </span><div class="body__ner-ntaer"><p class="has-dropp has-dropp__lead-standard-headg">It is 1423, Rsia, and the Black Death has laid waste to a village where a master bell-founr and his fay ri. When emissari reprentg the Grand Prce of Mosw arrive to missn a new bell, they fd that only the founr’s son—a gnt, sullen teen-ager named Boriska—has survived. As the prce’s men turn to leave, Boriska says, “My father knew the secret of pper for bell-stg. When he was dyg, he passed on to me.” Reluctantly, the men take Boriska along wh them: if they return empty-hand, they will face the prce’s wrath.</p><p class="paywall">The work begs outsi the walls of a monastery Suzdal, northeast of Mosw. Boriska picks a spot for the stg and digs furly wh his hands, pullg up a root om a nearby tree. Rastorms create an elemental landspe of earth, water, fog, and mud. When Boriska fds the right clay for the bell’s mold, he wrh ecstatilly the mire. Aware of what might happen if the project fails, Boriska chews his nails, mutters prayers, and sleeps the stg p. At tim, though, he exus a monic fury. A diffint boy be an athetic tyrant, rejectg ferr materials and mandg more om the prce’s ffers. When the furnace fir are set, he grs wh savage joy, and bends over the molten metal as though to listen.</p><p class="paywall">The bell is st, and an army of townspeople gather to raise on a sffold, for a tt. The monastery grounds bee an dtrial mp of rop, cranks, and pulleys. Boriska directs the operatn by raisg his fists and then brgg them abptly down, like a nductor. By the time the prce to wns the tt, however, the boy is werg unr the sffold, his nfince gone. The prce sneers to an Italian ambassador, “Look at what kd of people we have overseeg thgs here.” A worker begs swgg a massive clapper back and forth, an ever-wing arc. It croaks on s jot, and a gellg mute pass as the ambassador chats wh his translator: “I wouldn’t venture to ll that thg a bell.” “Have you heard that the Grand Prce behead his brother?” Boriska sks to the ground. When a tone fally booms out, a monkish man is lookg on wonr—the in pater Andrei Rublev. Boriska remas slumped while the crowd surg exultantly forward. We look down om an creasg remove, as if through the ey of an angel soarg backward.</p><p class="paywall">From a high angle, wh bells pealg all over, the scene rembl a pageant of Rsian glory. Yet Boriska is distrght. When Rublev tri to fort him, the boy shrieks, “My father, old serpent—he never passed on the secret.” Rublev repli, “And you see how everythg turned out—all right, ’s all right. So we will go together: you will st bells, and I will pat ins.” Sudnly, a black-and-whe screen is filled wh lor, as we see ins that the real-life Rublev pated the early fifteenth century. Their damaged surfac, seen extreme closp, remble mornist nvas that were pated five centuri later, when other terrors stalked the land.</p><div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--article-mid-ntent" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--article-mid-ntent nsumer-marketg-un__slot---ntent"></div><div class="journey-un"></div></div></div><p class="paywall">Some art works imprs so eply on first enunter that they bee events our liv. So was for me wh <a href=">Andrei Tarkovsky</a>’s epic film “Andrei Rublev,” which ends wh the story of Boriska and the bell. I first saw 1987, twenty-one years after was ma and a year after the director’s untimely ath, at the age of fifty-four. I was no olr than the actor Nikolai Burlyayev had been when he played Boriska, and I intified wh this unhged adolcent who njur a masterpiece om mud. I had the sensatn that I was seeg the raw matter of history filtered through an artistic imagatn. The bell sequence unfolds like a grty documentary about some heroic Soviet-era project, like the buildg of a dam. At the same time, the mera roams wh a subjective eye, zerog on anguished fac and zoomg back out to revel the Romantic sublime. <a href=">Ingmar Bergman</a> might have had that pacns md when he wrote, his memoirs, “When film is not a document, is dream. That is why Tarkovsky is the greatt of them all.”</p><p class="paywall">In llege, I voured Tarkovsky’s other films quick succsn, nvced that I had e to the posssn of a cultural secret. But I was hardly alone my nversn experience: the cult of Tarkovsky had grown to nsirable size by the end of the eighti, and has not stopped growg sce. When he left the <a href=">Soviet Unn</a>, 1984, he beme, unwillgly, a symbol of dissent; when he was diagnosed wh termal ncer, 1985, he acquired a martyr’s ra, workg om his sickbed to fish his fal picture, “The Sacrifice.” The posthumo publitn of his diari amplified his sufferg-geni image. Prophetic powers were ascribed to him: the post-apolyptic landsp of his 1979 film, “Stalker,” spookily praged <a href=">the Chernobyl disaster</a>, and 1986 the Swedish Prime Mister, Olof Palme, was assassated on the Stockholm street where a crazed crowd stampes “The Sacrifice.”</p><div data-attr-viewport-monor="le-recirc" class="le-recirc-wrapper le-recirc-observer-target-1 viewport-monor-anchor"></div><p class="paywall">Among directors, Tarkovsky has bee a godlike figure, his signature motifs imated to the pot of beg clichés. He is the chief exemplar of what is sometim lled slow cema, which the mera lgers long tak on stere landsp and scen of mimal activy. (The average shot length Tarkovsky’s fal three films is a mute or more; a morn actn movie, ’s ually a few sends.) In the journal <em>Sight & Sound,</em> Nick Jam <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">wrote</a>, “If there are grasslands swirlg, whe mist veilg a hoe a dark green valley, cleansg torrential ras, a burng barn or hoe, or trackg shots across objects submerged water, a Tarkovsky name-drop is never far away.” Terrence Malick, Claire Denis, Shir Nhat, Béla Tarr, Alejandro González Iñárru, Christopher Nolan, and Lars von Trier, to name a few, display Tarkovskyan tras. Admirers have proliferated other realms as well. Elena Ferrante rever him, and Patti Smh has a song lled “<a href=">Tarkovsky</a>,” which clus the le “Black moon sh on a lake, whe as a hand  the dark.”</p><p class="paywall">The long panmic months seemed a good time to burrow back to Tarkovsky’s world. Life was movg at a neo-medieval pace, and the athetic of slowns was all the more wele an age of antic digal scissorg. I watched the films aga—cludg Jan Films’ lumo new rtoratn of “<a href=">Mirror</a>” (1975), streamg via Film at Lln Center—and plowed through a nse analytil lerature, which clus two recent addns: Sergey Toymentsev’s say anthology “<a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">The Films of Andrei Tarkovsky</a>” (Edburgh; part of the “ReFoc” seri) and Tobias Pontara’s “<a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">Andrei Tarkovsky’s Soundg Cema</a>” (Routledge). I emerged wh my admiratn undimished but my idolatry somewhat tempered. Tarkovsky had a reactnary streak, and the era of <a href=">Vladimir Put</a> his drift toward natnalist mysticism n take on an omo tge. I was crtfallen to learn that Nikolai Burlyayev, the erstwhile Boriska, has bee a cultural-relig apparatchik, spewg homophobia.</p></div></div></div><div class="GridItem-buujkM fVLMby grid--em grid-layout__asi"><asi class="PersistentAsiWrapper-VGrR daRVRt persistent-asi" style="posn:absolute;top:to;height:to" data-ttid="PersistentAsiWrapper"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"><div class="AdWrapper-dQtivb fZrssQ ad ad--rail"><div class="ad__slot ad__slot--rail" data-no-id="g18o"></div></div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--display-rail" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--display-rail"></div><div class="journey-un"></div></div></div><div class="StickyBoxPlaceholr-grPmrg dxAvXx"></div></div></asi></div></div><div class="RowWrapper-UmqTg HEhan full-bleed-ad row-mid-ntent-ad"><div class="StickyMidContentAdWrapper-fSBzwl drzyIa ad-stickymidntent"><div class="AdWrapper-dQtivb fZrssQ ad ad--mid-ntent should-hold-space"><div class="ad__slot ad__slot--mid-ntent" data-no-id="7ah4y"></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ArticlePageChunksGrid-hfxa bjczjj grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="BodyWrapper-kufPGa EOneK body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><p class="paywall">When I returned to “Rublev,” I found that the film had somehow anticipated s maker’s ambiguo legacy. Neher of s two prcipal artist figur, the antic bell-founr and the monkish pater, n elu the ld ey of earthly thory. Rublev remas a rerved enigma; Anatoly Solonsyn, Tarkovsky’s favore actor, plays him wh sad, watchful stillns. Tarkovsky himself was much more of the Boriska type; Burlyayev molled the character’s fidgety mannerisms on the director’s. The bell sequence is, fally, a parable of the creative procs: great art rts on some murky mixture of luck, li, and wchcraft.</p><p class="has-dropp has-dropp__lead-standard-headg paywall">No self-ma phenomenon, Tarkovsky arose om an extraordarily fertile cultural environment that the Soviet system never succeed brgg unr total ntrol. He was born 1932, to the Mosw telligentsia. His father was the poet Arseny Tarkovsky, who wrote a ggedly lyril style, the mold of Anna Akhmatova. Four years after Andrei was born, Arseny had an affair and abandoned the fay. Andrei’s mother, Maria Tarkovskaya, also a poet, went to work as a prooear at a Mosw publishg hoe. She phed Andrei toward the arts, payg for mic and art lsons wh her meagre rourc.</p><div class="Contaer-bkChBi byNLHx"></div><p class="paywall">Stalism shadowed Tarkovsky’s childhood, and the clammy atmosphere of the era is palpable “Mirror,” his most tobgraphil statement. In one sequence, a character based on Maria Tarkovskaya nvc herself that she missed a tastrophic typographil error. We don’t fd out what is, although, as Vida T. Johnson and Graham Petrie reveal their prehensive 1994 book, “<a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">The Films of Andrei Tarkovsky: A Visual Fugue</a>,” Soviet dienc were primed to thk of a story about Stal’s name beg misprted as <em>Sral</em> (“shter”). By the time the prooear disvers that her fears are unfound, she is a quiverg wreck.</p><p class="paywall">Tarkovskaya’s attempts to enurage artistic clatns her son met wh a spell of rebelln. After the young Andrei fell to the ranks of the <em>stilyagi</em>—nattily drsed, jazz-lovg hipsters—she dispatched him to Siberia, to take part a geologil expedn, which he later scribed as the happit experience of his life. His yen for betifully barren landsp may have stemmed om this perd. Tarkovsky returned wh the ia of beg a filmmaker, and, 1954, a year after Stal’s ath, he enrolled at the All-Unn State Instute of Cematography, now known as the Gerasimov Instute of Cematography (V.G.I.K.).</p><p class="paywall">In the later fifti, the Khshchev thaw gave rise to a cematic renaissance. Tarkovsky was a part of a formidable V.G.I.K. hort that clud the directors Andrei Konchalovsky, Larisa Shepko, Elem Klimov, Kira Muratova, Vasily Shsh, Otar Iosseliani, and Grgi Shengelaia. In school, Tarkovsky also met his first wife, the actor Irma Rsh. (He later married Larisa Kizilova, an assistant on “Rublev.”) This group took enuragement om breakthrough films like Mikhail Kalatozov’s 1957 drama about the Send World War, “The Cran Are Flyg,” which mak mmerizg e of a handheld mera, blurry edg, and jumbled posns. As Znko Mandušić pots out the “ReFoc” anthology, filmmakers were applyg documentary techniqu an effort to distance themselv om the ponro pomp of the Stalist era.</p><p class="paywall">At the same time, the new generatn absorbed postwar European and Japane cema. Tarkovsky revered Brson, Antonni, Buñuel, Kurosawa, Mizoguchi, and, pecially, Bergman, whose liberate pacg and stark posns affected his work om the start. He also paid heed to the radil legacy of early Soviet film, even as he profsed to reject Eisenste’s fluence. A classic Soviet practice was to avoid scene-settg tablishg shots, stead plungg viewers to the actn and forcg them to piece together what was gog on. The bell episo “Rublev” begs wh Boriska rtg agast a hoe, gazg at meltg snow. We hear the prce’s men and see the tails of their hors, but are given a vista of the surroundg steppe only when they leave for Suzdal.</p><p class="paywall">Tarkovsky, spe his avant-gar leangs, ultimately gravated toward neteenth-century Romanticism and s f--siècle mystil offshoots. <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">His diari</a> channel Goethe (“The more accsible a work is to reason, the greater is”) and Schopenher (“We are all dreamg the same dream”). He displays a misogyny that is retrogra even by neteenth-century standards; a woman’s real purpose, he wr, is “submissn, huiatn the name of love.” He pictur himself as a msianic artist bet by “li, nt, and ath,” qut of a “hieroglyphic of absolute tth.” The aim of art, he clar, is to “prepare a person for ath.”</p><div data-attr-viewport-monor="le-recirc" class="le-recirc-wrapper le-recirc-observer-target-2 viewport-monor-anchor"></div><p class="paywall">You would expect him to have been a terror on set, and Tarkovsky had his tyrannil moments. In Michał Lzczyłowski’s 1988 documentary, “Directed by Andrei Tarkovsky,” which chronicl the makg of “The Sacrifice,” assistants n be seen walkg to a meadow mutterg, “Everythg yellow mt go.” For the most part, though, Tarkovsky’s crews beme swept up his quixotic passns. The director’s son Andrei relled how Sven Nykvist, Bergman’s longtime cematographer, who shot “The Sacrifice,” scribed the prevailg mood: “We were givg totally for Bergman bee we were aaid of him, and we gave everythg to Tarkovsky bee we loved him.”</p><p class="has-dropp has-dropp__lead-standard-headg paywall">You uld take fifty stills om any Tarkovsky film, mount them on gallery walls, and make a stunng exhibn. The drenchg richns of his visual imagatn is evint the first few mut of “Ivan’s Childhood,” his début feature, released 1962. Burlyayev plays a boy named Ivan, who has lost his fay durg the Send World War and is exactg revenge by sutg behd enemy l. The openg sequence appears to be a flashback or a dream. The ial shot is a slow pan up the tnk of a tree—a reverential gture that is replited at the end of “The Sacrifice.” Idyllic imagery of nature, wh the mera takg flight through treetops, leads to a closp of the beatific face of the boy’s mother. The sound of gunfire cuts the sequence short, and Ivan awakens a dark, menacg space, which turns out to be the terr of a wdl. The juxtaposns of dream memory and historil nightmare recur throughout the film, wh the martns between the two stat steadily distegratg.</p><p class="paywall">“Ivan’s Childhood” won a Goln Ln at the Venice Film Ftival and received praise om <a href=">Jean-Pl Sartre</a>. It also ma a profound imprsn at home, s eewheelg technique helpg to emboln Tarkovsky’s lleagu. The Armenian director Sergei Parajanov unleashed an anarchic visual feast “Shadows of Fotten Anctors” (1965), which centers on life a tradnal mounta village wtern Ukrae. Larisa Shepko, perhaps Tarkovsky’s most gifted ntemporary, created her own hallucatory realism “The Ascent” (1977), set durg the Nazi vasn of the Soviet Unn; <a href=">San Sontag</a> once lled the most affectg war film ever ma.</p><p class="paywall">To be sure, Tarkovsky’s breakthrough relied on his V.G.I.K.-traed crew, particularly the cematographer Vadim Yov, who might be nsired the -creator of the Tarkovsky style. A famo scene “Ivan” shows the boy and two soldiers makg their way at night through a flood fort a boat, wh flar explodg high above them. The cematographer Roger Deaks has named one lgerg shot— which a stand of bare tre is silhouetted agast a gray expanse of land, water, and sky—his favore movie history. Yov had suted the lotn and mapped out the scene before the director arrived for the shoot. Still, Tarkovsky’s llaborators were workg his spir. Yov relled, “Tarkovsky equently uld not unrstand the limatns, and this ignorance ma him bold.”</p><le-embed name="feature-flt" attrs="[object Object]" childTyp="image" ntentType="llout:feature-flt"><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO KhjZz AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset rponsive-image rponsive-image--expandable"><noscript><img alt="Image may nta Human and Person" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></span></div><div class="CaptnWrapper-jSZdqE iTuhkZ ptn AssetEmbedCaptn-fNQBPI fmQnYP asset-embed__ptn"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnText-bHjzlu iUEiRd hWyo iXWezO ptn__text">“Stalker,” om 1979, was Tarkovsky’s fal Rsian film. The ma characters’ chg progrs across booby-trapped, supernatural terra unfolds like a slow-motn, hyper-abstract thriller—a zombie apolypse whout zombi.</span><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnCred-ejegDm iUEiRd iicloT jbIJNS ptn__cred">Photograph urty Jan Films</span></div></figure></le-embed><p class="paywall">For Tarkovsky, the qutn was always whether he uld fd a narrative stcture to match his pictorial visns or whether he should disrd narrative altogether. “Rublev,” which he -wrote wh Andrei Konchalovsky, is his monumental exercise the epic mo. It unfolds discrete episos, not all of which foc on Rublev. We wns a primive experiment balloon flight; the vortgs of a doomed jter; the sage mgs of an elr in pater, Theophan the Greek; an y among pagans; the savage urt of the Grand Prce, who punish a group of stonemasons by havg their ey gouged out; an attempted up by the prce’s brother, rultg the sackg of a thedral the cy of Vladimir; Rublev’s retreat to a vow of silence; and the stg of the bell. The chapters add up to a formidable archecture: grim pillars of historil realy support the extravagance of the whole.</p><p class="paywall">The film is a portra of an artist which we almost never see the artist at work. Tarkovsky th avoids the trap of the standard artist b-pic, which celebry actors thrash around pretendg to be Michelangelo or Frida Kahlo. Rather, we are shown the storehoe of experienc that shaped him. Rublev’s proxy is the mera, which glis through immense, chaotic scen like an visible observer, beg distracted by irratnally betiful tails. A black horse rolls on s back; gee flutter above the mayhem of battle; a t prowls among bodi the plunred thedral. The viewer’s awarens that Tarkovsky has planted those tails do not tract om their world-buildg effect. One moment has always mmerized me. Durg the sackg of Vladimir, the mera to rt on the dazed face of the prce’s brother. A tasselled censer swgs behd him: three tim, floats to sight om the left si of the ame and then floats out of sight aga. Whout explanatn, fails to appear a fourth time. Whenever I watch this brief shot, I have the same voluntary reactn: the csatn of movement an terr shudr.</p><p class="paywall">Soviet burecrats, havg acced “Rublev” of both obscurantism and excsive naturalism, layed s Rsian release until 1971, five years after s pletn, although a prt was shown at Cann 1969. Tarkovsky ma var cuts but stuck to his origal plan. (A superb <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">Crern Collectn release</a> ntas the ial versn, “The Passn Acrdg to Andrei,” which ns three hours and twenty-six mut, and the fal cut, which is twenty-three mut shorter.) Johnson and Petrie, their “Visual Fugue” book, argue that Tarkovsky suffered ls unr the Soviet system than many of his ntemporari. His ma weapons were his fearls self-assurance and his unrelentg stubbornns. He was too much of an dividualist to f the profile of the dissenter, and opposn to his work was rooted more prehensn than anythg else.</p></div></div></div><div class="GridItem-buujkM fVLMby grid--em grid-layout__asi"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"></div><div class="StickyBoxPlaceholr-grPmrg dxAvXx"></div></div></div></div><div class="RowWrapper-UmqTg HEhan full-bleed-ad row-mid-ntent-ad"><div class="StickyMidContentAdWrapper-fSBzwl drzyIa ad-stickymidntent"><div class="AdWrapper-dQtivb fZrssQ ad ad--mid-ntent should-hold-space"><div class="ad__slot ad__slot--mid-ntent" data-no-id="9r3ill"></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ArticlePageChunksGrid-hfxa bjczjj grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="BodyWrapper-kufPGa EOneK body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><p class="paywall">While Tarkovsky was ponrg his next project, he saw Stanley Kubrick’s “<a href=">2001: A Space Odyssey</a>,” which he both disliked and envied. He set about makg “Solaris” (1972), his own attempt at transcenntal science fictn. The source was <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">the eponymo novel</a> by the Polish sci-fi wrer Stanisław Lem, which a sentient ocean pla vas the nscns of human visors and driv them mad. Unlike Kubrick, Tarkovsky showed ltle tert the mechanics of space travel, dwellg stead on the hnted memori and unrolved nflicts of his protagonist. (<a href=">Steven Sorbergh</a>’s 2002 remake, also tled “Solaris,” is more fahful to Lem’s text.) Hallmarks of the later Tarkovsky e to the fore, for better or for worse: majtic long tak, ramblg philosophil dialogu, extend scty of classic art works, bouts of Bach on the soundtrack. The lead actor, Donatas Bannis, is all too palpably tryg to figure out what kd of movie he is .</p><p class="paywall">Tarkovsky was probably right when he named “Solaris” his weakt film, but is transfixg all the same. As Julia Shpskaya pots out “ReFoc,” Tarkovsky almost emulat Kubrick a nearly five-mute-long sequence that nsists largely of highways and tunnels as seen om a movg r. A thick overlay of electronic sound, fashned by the poser Eduard Artemyev, helps transform the footage to a voyage no ls md-bendg than the one at the climax of “2001.” By the end of “Solaris,” Bannis seems to have returned to a untry hoe on Earth, but creasgly lofty vantage pots reveal that he is on an island the seethg Solaris ocean. Bach’s chorale prelu “Ich f zu dir” giv way to a taract of noise.</p><p class="has-dropp has-dropp__lead-standard-headg paywall">“My aim is to place cema among the other art forms,” Tarkovsky wrote his diari. “To put on a par wh mic, poetry, prose, etc.” He fulfilled that ambn spectacularly “Mirror,” which me after “Solaris.” A eply personal work that re-creat scen om Tarkovsky’s childhood fanatil tail, “Mirror” is at the same time a tour--force assemblage of stream-of-nscns memori, dreamsp, paranormal occurrenc, poetry recatns, and gray newsreel footage. Watchg is like attendg a séance of the twentieth-century Rsian soul. The first time I saw “Mirror,” I experienced as a geo, sensuo bewilrment. It was equally rewardg to watch the rtored film njunctn wh Johnson and Petrie’s fastid analysis. “Mirror,” like “Ulyss” or “The Waste Land,” is the kd of work for which you wele a gui.</p><p class="paywall">The cematographer for “Mirror” was Gey Rerberg, who had a knack for makg drab terrs and dky landsp shimmer wh unseen forc. From the start, irratnal events ensue: a barn bursts to flame, a jug crash to the floor, ghostly prenc materialize, people levate. Heighteng the unnny atmosphere, the actor Margara Terekhova plays two distct characters: one based on Maria Tarkovskaya, Tarkovsky’s mother, and the other based on Irma Rsh, his first wife. Tarkovskaya is also st as herself, scen set the prent day. At the end, Tarkovsky creat chronologil panmonium by havg his mother share the ame wh a reprentatn of her much younger self. The suatn is ripe for psychoanalysis, which the filmmaker and historian Evgeny Tsymbal, once Tarkovsky’s assistant, suppli “ReFoc.” One has the sense that Tarkovsky held his mother partially rponsible for his father’s parture, and that this feelg perhaps beme a source of his warped attus toward women. But the film transcends the director’s misogyny on the strength of Terekhova’s exprsively harried performance. She holds fast agast the ti of male nrosis risg around her.</p><div data-attr-viewport-monor="le-recirc" class="le-recirc-wrapper le-recirc-observer-target-3 viewport-monor-anchor"></div><p class="paywall">“Stalker,” Tarkovsky’s fal Rsian film, has bee his most celebrated work, almost a pop-culture phenomenon. It has spired a brilliant ee-associative study by Geoff Dyer—“<a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">Zona</a>,” om 2012—as well as a seri of first-person-shooter vio gam. In Talln, Estonia, where much of the film was shot, you n take a Tarkovsky-themed bike tour. The cult of “Stalker” is surprisg, bee, at first enunter, is the most cryptic of Tarkovsky’s hieroglyphs. Based on Arkady and Boris Stgatsky’s sci-fi novel “<a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">Roadsi Piic</a>,” ntrasts an ashen outer world wh an eerily verdant place known as the Zone, which appears to have been vised by aliens. Insi the Zone is the Room, where all wish are said to e te. Although ary guards shoot at anyone who tri to enter the Zone, guis known as “stalkers” lead illegal tours. The film follows three men named Stalker, Profsor, and Wrer, who are played wh lanic gr by Alexanr Kaidanovsky, Nikolai Grko, and the hypnotic, hood-eyed Solonsyn. Their chg progrs across booby-trapped, supernatural terra unfolds like a slow-motn, hyper-abstract thriller—a zombie apolypse whout zombi.</p><p class="paywall">Nothg Tarkovsky’s work has eliced more awtck ment than the sequence which the travellers pass to the Zone. <a href=">Claire Denis</a>, nversatn wh the director Rian Johnson, <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">said</a> of this moment, “I remember I thought I was gog to fat. My heart stopped beatg for a send.” The first part of the movie, which shows Stalker leavg home and meetg his clients, is shot sicted sepia ton. The tr mak past the guards and travels toward the Zone on railroad tracks, ridg a motorized flatr. A numbg seri of shots of irregular length—forty sends, nety-six sends, seven sends, seventeen sends, sixty-two sends—fixate on the sis and backs of the men’s heads, givg only vague glimps of the surroundg terra. The clankg of wheels is at first percsively harsh and then fas to an electronic blur. In an abpt cut, lor replac sepia, and we fd ourselv a landspe of dark-green vegetatn, skewed telephone pol, and abandoned vehicl—a leap to a post-human paradise. The flatr glis to a halt as the men gaze, rapt. It is, Tarkovsky scholars pot out, a bleak homage to “<a href=">The Wizard of Oz</a>.” As wh the censer shot “Rublev,” the sudn absence of motn generat a kd of ternal vertigo, accentuated by an onsh of silence.</p><p class="paywall">Pontara, his absorbg study of Tarkovsky’s e of mic and sound, shows how much of the spell of “Stalker” pends on s extraordary d track. Artemyev, who specialized electronic posn before llaboratg wh Tarkovsky, vis a seethg soundspe which otherworldly dti alternate wh upwellgs of noise. Tarkovsky throws some classil selectns, but they are alienated om their ual ennoblg role. When, the scen set Stalker’s home, tras mble past, railway sounds termgle wh fatly dible stras of “La Marseillaise,” Wagner’s “Tannhäer” overture, and Beethoven’s Nth Symphony. Landmarks of Wtern mic are rced to technologil tr. Pontara suggts plsibly that Tarkovsky is exposg the tastrophic failure of dtrial and cultural progrs alike.</p><p class="paywall">The fal scen brg tremors of hope. Although the travellers return om their journey whout havg dared to enter the Room, alteratns the film stock imply that they have smuggled out some sence of the Zone: a touch of lor seeps to the sepia wasteland. In a shiver-ducg epilogue, we learn that Stalker’s disabled young dghter, Monkey, has veloped occult gifts. Jt before the ral tra wreck of Beethoven’s Nth, she teleketilly ph a glass off a table. Pontara pots out the iologil problem unrlyg this ncludg wonr: place of failed Romantic athetics, Tarkovsky substut his own heroic gture of transcennce. “Stalker” ends up reaffirmg, Pontara’s words, “the false promise that we n pe om and step outsi of history and civilizatn.”</p><p class="has-dropp has-dropp__lead-standard-headg paywall">By the time “Stalker” was released, 1979, Tarkovsky had bee the most ternatnally celebrated of Soviet filmmakers, but he still faced burecratic terference at home. Constrats on his artistic eedom angered him; so did the persecutn of Parajanov, a favore lleague, on anti-gay grounds. (Johnson and Petrie say that Tarkovsky himself was not exclively straight.) He took up rince Italy 1982 and announced his exile two years later. Anticipatg this cisn, the regime had refed to allow his son Andrei to leave the untry. Wh two years, pertroika had changed the Soviet cultural atmosphere, but me too late for Tarkovsky. In 1986, as he was dyg of ncer, <a href=">Mikhail Gorbache</a>v tervened to allow the younger Andrei to go see his father. The French wrer and filmmaker Chris Marker was on hand to wns the rnn; heartbreakg footage of a ail Tarkovsky embracg his son appears Marker’s 1999 documentary, “One Day the Life of Andrei Arsenevich.”</p><p class="paywall">Tarkovsky pleted two feature films durg his years abroad: “Nostalghia,” ma Italy 1982 and 1983, and “The Sacrifice,” shot Swen 1985. He enjoyed more creative eedom, but fancg was a challenge, and he had lost the work of llaborators who enabled his middle-perd masterpiec. Some crics hail the fal works as a supreme revolt agast cematic nventn; others tect symptoms of mannerism and cle. Both films bewched me when I first saw them, but I’m now cled to agree wh Dyer, who ments that, after “Stalker,” Tarkovsky fell to self-imatn: “The gu beme his own most voted disciple.”</p><p class="paywall">The long tak grow lurgil manner. At the end of “Nostalghia,” the protagonist, a Rsian travellg Italy, spends ne mut attemptg to rry a l ndle across the length of an empty meral pool, believg that he will th avert the end of the world. He then falls ad, and there follows an awome visn of a Rsian dacha ntled wh a medieval Italian abbey. “The Sacrifice” stag a siar rual of world remptn: a Swedish tellectual be nvced that if he sleeps wh a lol wch he will undo an apparent nuclear war. His barga also volv the burng of his island home—a six-mute take that nsummat Tarkovsky’s motif of immolatn.</p><p class="paywall">The imag are as grandly dumbfoundg as any that have been put on film, yet the surroundg narrativ are th. The Swedish actor Erland Josephson, a mastay of Bergman’s troupe, appears both “Nostalghia” and “The Sacrifice,” and vts his dive-madman rol wh emotnal nvictn. But other actors stggle—pecially the women. Domiziana Grdano, “Nostalghia,” and San Fleetwood, “The Sacrifice,” are obliged to enact prolonged scen of female hysteria. A dark aspect of Tarkovsky’s crique of dtrial morny manifts self: the reversn to a pre-morn orr brgs wh a rercement of male domance. In the Zone of “Stalker,” women disappear entirely, leavg only three men and a dog.</p><p class="paywall">Such regrsive tennci have left Tarkovsky open to appropriatn by the psdo-relig illiberal iology that has asserted self Put’s Rsia. The director has attaed a nonil posn his homeland; there is a statue of him outsi V.G.I.K. and a monument Suzdal. As Sergey Toymentsev not, latter-day Rsian crics have lked Tarkovsky to Eastern Orthodox theology. Toymentsev unters that, although Tarkovsky was fascated by relig inography, he scribed himself as an agnostic. “The one thg that might save is a new hery that uld topple all the iologil stutns of our wretched, barbaric world,” he once clared. Nor did he poe nventnal natnalist views. In his diari, he wrote, “Phk is superr to the rt bee he did not give Rsia an absolute meang.”</p></div></div></div><div class="GridItem-buujkM fVLMby grid--em grid-layout__asi"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"><div class="AdWrapper-dQtivb fZrssQ ad ad--rail"><div class="ad__slot ad__slot--rail" data-no-id="kl82qr"></div></div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--display-rail" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--display-rail"></div><div class="journey-un"></div></div></div><div class="StickyBoxPlaceholr-grPmrg dxAvXx"></div></div></div></div><div class="RowWrapper-UmqTg HEhan full-bleed-ad row-mid-ntent-ad"><div class="StickyMidContentAdWrapper-fSBzwl drzyIa ad-stickymidntent"><div class="AdWrapper-dQtivb fZrssQ ad ad--mid-ntent should-hold-space"><div class="ad__slot ad__slot--mid-ntent" data-no-id="6q9vc"></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ArticlePageChunksGrid-hfxa bjczjj grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="BodyWrapper-kufPGa EOneK body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><p class="paywall">In the end, Tarkovsky evas whatever iologi lay claim to him, and his symbols rist succsive wav of terpretatn. In his 1985 book, “<a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">Sculptg Time</a>,” he quot the Symbolist poet Vyachlav Ivanov: “A symbol is only a te symbol when is exhstible and unlimed s meang, when utters s arne (hieratic and magil) language of ht and timatn somethg that nnot be set forth, that do not rrpond to words.” Tarkovsky’s motifs—drippg water, burng ho, spir-lan animals, levatg bodi, self-propellg objects, sured landsp shg om wh—add up to a pantheistic visual re. What matters is not the inty of the sacred object but the transfigurg tensy of the gaze fixed upon .</p><div data-attr-viewport-monor="le-recirc" class="le-recirc-wrapper le-recirc-observer-target-4 viewport-monor-anchor"></div><p class="paywall">For me, as for many others, Tarkovsky btowed a new way of lookg at the world. When I sift through thoands of photographs I’ve taken over the years, I regnize how often I’ve searched out a Tarkovsky vista whatever place I was passg through. Paths meanrg grass, tilted telephone pol, a man-ma relic half voured by nature, sunlight slantg wanly om the horizon: for more than half my life, I have been tryg to nvert scraps of land around me to versns of the Zone. ♦</p></div></div></div><div class="GridItem-buujkM fVLMby grid--em grid-layout__asi"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"><div class="AdWrapper-dQtivb fZrssQ ad ad--rail"><div class="ad__slot ad__slot--rail" data-no-id="7rxupf"></div></div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--display-rail" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--display-rail"></div><div class="journey-un"></div></div></div><div class="StickyBoxPlaceholr-grPmrg dxAvXx"></div></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 PaywallInleBarrierWhWrapperGrid-fyrGfS kLQIUk grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="body body__le-barrier article__body"><div class="ntaer ntaer--body"><div class="ntaer--body-ner"><asi class="PaywallInleBarrierWrapper-iBnuqk lfXXa-D" data-ttid="PaywallInleBarrierWrapper"><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--paywall-le-barrier" role="prentatn" aria-live="pole" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--paywall-le-barrier"></div><div class="journey-un"></div></div></asi></div></div></div></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ContentWrapperGrid-fvkmBv brYtrA grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="body body__ntaer"><div class="ntaer ntaer--body"><div class="ntaer--body-ner"></div></div></div></div></div></div></article><div class="ContentFooterWrapper-jVNdRG dTJkpP ArticlePageContentFooterGrid-ccsXYy eMZRHU article-body__footer"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><footer class="ContentFooterMagazeDisclaimer-gzKAqo iZIuUU" data-ttid="MagazeDisclaimerWrapper">Published the prt edn of the <a href="/magaze/2021/02/15" data-reactroot="">Febary 15 & 22, 2021</a>, issue, wh the headle “The In-Maker.”</footer></div></div><div class="RowWrapper-UmqTg HEhan"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"></div></div></div><div class="RowWrapper-UmqTg HEhan"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="ContributorsWrapper-eNpWFu GWFsc ntributors" data-ttid="Contributors"><div class="ContributorBWrapper-bnVHbt gMon"><div class="ContributorBAvatar-bIGTqf eMWbvj"><a href="/ntributors/alex-ross"><span class="SpanWrapper-umhxW jvZaPI rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO dUOtEa rponsive-image"><source media="(max-width: 767px)" srcSet=" 120w, 240w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w" siz="100vw"/><img alt="" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></picture></span></a></div><div class="ContributorBContent-ubQdr jZTSSi"><div class="ContributorBHear-ledood XOIEx"></div><div class="ContributorBB-fBolsO giFhKz"><a href="/ntributors/alex-ross">Alex Ross</a> has been the magaze’s mic cric sce 1996. His latt book is “<a href=">Wagnerism: Art and Polics the Shadow of Mic</a>.”</div><div class="ContributorBFooter-brqDlv ezUmSv"></div></div></div></div></div></div></div><div class="RowWrapper-UmqTg HEhan"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div data-ttid="TagCloudWrapper" class="TagCloudWrapper-gGgndx ctyZyK ContentFooterTagCloud-krQmRG ZLGh"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudSectnHear-cOforY iUEiRd bPyAoD kQQRmu">More:</span><a href="/tag/directors" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM TagCloudLk-kvjZFu iUEiRd ggMZaT gFob hIhJOI"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudName-eAUnLd iUEiRd gwIVBQ bUkXwu">Directors</span></a><a href="/tag/andrei-tarkovsky" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM TagCloudLk-kvjZFu iUEiRd ggMZaT gFob hIhJOI"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudName-eAUnLd iUEiRd gwIVBQ bUkXwu">Andrei Tarkovsky</span></a><a href="/tag/ssians" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM TagCloudLk-kvjZFu iUEiRd ggMZaT gFob hIhJOI"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudName-eAUnLd iUEiRd gwIVBQ bUkXwu">Rsians</span></a><a href="/tag/movi" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM TagCloudLk-kvjZFu iUEiRd ggMZaT gFob hIhJOI"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudName-eAUnLd iUEiRd gwIVBQ bUkXwu">Movi</span></a><a href="/tag/anthologi" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM TagCloudLk-kvjZFu iUEiRd ggMZaT gFob hIhJOI"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudName-eAUnLd iUEiRd gwIVBQ bUkXwu">Anthologi</span></a><a href="/tag/books" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM TagCloudLk-kvjZFu iUEiRd ggMZaT gFob hIhJOI"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudName-eAUnLd iUEiRd gwIVBQ bUkXwu">Books</span></a><a href="/tag/soviet-unn" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM TagCloudLk-kvjZFu iUEiRd ggMZaT gFob hIhJOI"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudName-eAUnLd iUEiRd gwIVBQ bUkXwu">Soviet Unn</span></a></div></div></div></div><div data-ttid="ContentFooterBottom" class="ContentFooterBottom-jwWZfC kcbyiW"><div class="ContentFooterNewsletterContentWrapper-bmjtna kixtae"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div data-ttid="NewsletterSubscribeFormWrapper" class="NewsletterSubscribeFormWrapper-fCqqkN jKSBhE newsletter-subscribe-form ContentFooterNewsletterForm-hKeYwa liPqcf"><div data-ttid="NewsletterSubscribeFormHedDekWrapper" class="NewsletterSubscribeFormHedDekWrapper-fpMElW eglIBL"><h3 class="NewsletterSubscribeFormDangeroHed-kRwWjt feDzQf newsletter-subscribe-form__hed ContentFooterNewsletterForm-hKeYwa liPqcf">Weekly</h3><div class="NewsletterSubscribeFormDek-kXonvc grEaES newsletter-subscribe-form__k">Your gui to the latt magaze and our biggt stori of the week, pl highlights om podsts, humor, and more.</div></div><div data-ttid="NewsletterSubscribeFormInputsWrapper" class="NewsletterSubscribeFormInputsWrapper-keARJE hVWbzr"><form class="form-wh-validatn NewsletterSubscribeFormValidatn-iCYa-Dt dweEln" id="newsletter" name="newsletter" novalidate="" method="POST"><span class="TextFieldWrapper-Pzdqp hNhevp text-field" data-ttid="TextFieldWrapper__email"><label class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TextFieldLabel-klrYvg iUEiRd stdEm fvoOvz text-field__label text-field__label--sgle-le" for="newsletter-text-field-email" data-ttid="TextFieldLabel__email"><div class="TextFieldLabelText-cvvxBl eeDYTb">E-mail addrs</div><div class="TextFieldInputContaer-jcMPhb oFrOs"><put type="email" aria-scribedby="privacy-text" aria-valid="false" id="newsletter-text-field-email" required="" name="email" placeholr="E-mail addrs" class="BaseInput-fAzTdK TextFieldControlInput-eFUxkf eGzzTT lglhcT text-field__ntrol text-field__ntrol--put" data-ttid="TextFieldInput__email"/></div></label><button class="BaseButton-bLlsy ButtonWrapper-xCepQ bqVKKv dwpimO button button--utily TextFieldButton-csBrgY edxbrw" data-event-click="{"element":"Button"}" data-ttid="Button" type="subm"><span class="ButtonLabel-cjAuJN hzwRuG button__label">Sign up</span></button></span><div id="privacy-text" tabx="-1" class="NewsletterSubscribeFormDisclaimer-bTVtiV bsgLJZ"><span><p>By signg up, you agree to our <a href=" rel="nofollow noopener noreferrer" target="_blank">User Agreement</a> and <a href=" rel="nofollow noopener noreferrer" target="_blank">Privacy Policy & Cookie Statement</a>. 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tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-1" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg bDvSkO summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz ktcjQn"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg bDvSkO summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 720w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 480w" siz="100vw"/><img alt="The Twenty-Two-Year-Old Poet Who L Up the Stage at the Bin Inguratn" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl XMZX summary-em__ntent"><div class="RubricWrapper-dKmCNX kImuKS bric bric--disvery SummaryItemRubric-dguGKN lapGFj summary-em__bric"><span class="RubricName-fVtemz cLxcNi">Vio</span></div><a class="SummaryItemHedLk-civM dVrbhU summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-1" data-recirc-pattern="summary-em" href=" target="_self"><div class="SummaryItemHedBase-hiFYpQ fzzTdh summary-em__hed" data-ttid="SummaryItemHed">The Twenty-Two-Year-Old Poet Who L Up the Stage at the Bin Inguratn </div></a><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd kxnNhB jDyfzW summary-em__k">The poet and activist Amanda Gorman reced her own work, "The Hill We Climb," at the Print's swearg-.</div></div></div><div class="SummaryItemWrapper-iwvBff hNpSyX summary-em summary-em--ARTICLE summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below summary-em--layout-posn-image-left summary-em--layout-proportns-50-50 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm hKqhyj" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb cPpCwE summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-2" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg bDvSkO summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz ktcjQn"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg bDvSkO summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="Conontg Geetown’s History of Enslavement" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl XMZX summary-em__ntent"><div class="RubricWrapper-dKmCNX kImuKS bric bric--disvery SummaryItemRubric-dguGKN lapGFj summary-em__bric"><span class="RubricName-fVtemz cLxcNi">Unr Review</span></div><a class="SummaryItemHedLk-civM dVrbhU summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-2" data-recirc-pattern="summary-em" href=" target="_self"><div class="SummaryItemHedBase-hiFYpQ fzzTdh summary-em__hed" data-ttid="SummaryItemHed">Conontg Geetown’s History of Enslavement</div></a><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd kxnNhB jDyfzW summary-em__k">In “The 272,” Rachel L. Swarns sets out how the untry’s first Catholic universy profed om the sale of enslaved people.</div><div class="SummaryItemByleWrapper-boCfbi cuRXdL summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH dSEWiO byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss byle__preamble">By </span>Pl Elie</span></span></p></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff hNpSyX summary-em summary-em--ARTICLE summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below summary-em--layout-posn-image-left summary-em--layout-proportns-50-50 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm hKqhyj" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb cPpCwE summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-3" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg bDvSkO summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz ktcjQn"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg bDvSkO summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="The Perils and Promis of Penis-Enlargement Surgery" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl XMZX summary-em__ntent"><div class="RubricWrapper-dKmCNX kImuKS bric bric--disvery SummaryItemRubric-dguGKN lapGFj summary-em__bric"><span class="RubricName-fVtemz cLxcNi">A Reporter at Large</span></div><a class="SummaryItemHedLk-civM dVrbhU summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-3" data-recirc-pattern="summary-em" href=" target="_self"><div class="SummaryItemHedBase-hiFYpQ fzzTdh summary-em__hed" data-ttid="SummaryItemHed">The Perils and Promis of Penis-Enlargement Surgery</div></a><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd kxnNhB jDyfzW summary-em__k">One doctor’s Promethean qut to grow the male member is leavg some men sperate and disfigured.</div><div class="SummaryItemByleWrapper-boCfbi cuRXdL summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH dSEWiO byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss byle__preamble">By </span>Ava Kofman</span></span></p></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff hNpSyX summary-em summary-em--ARTICLE summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below summary-em--layout-posn-image-left summary-em--layout-proportns-50-50 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm hKqhyj" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb cPpCwE summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-4" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg bDvSkO summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz ktcjQn"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg bDvSkO summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="What Prigozh’s Half-Baked “Coup” Could Mean for Put’s Rule" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl XMZX summary-em__ntent"><div class="RubricWrapper-dKmCNX kImuKS bric bric--disvery SummaryItemRubric-dguGKN lapGFj summary-em__bric"><span class="RubricName-fVtemz cLxcNi">Q. & A.</span></div><a class="SummaryItemHedLk-civM dVrbhU summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-4" data-recirc-pattern="summary-em" href=" target="_self"><div class="SummaryItemHedBase-hiFYpQ fzzTdh summary-em__hed" data-ttid="SummaryItemHed">What Prigozh’s Half-Baked “Coup” Could Mean for Put’s Rule</div></a><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd kxnNhB jDyfzW summary-em__k">Although the immediate threat of revolt has been extguished, the episo may emboln future challengers to Rsia’s stat quo.</div><div class="SummaryItemByleWrapper-boCfbi cuRXdL summary-em__byle-date-in"><div 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