Stalker – Сталкер
20 February 2016

Stalker – Сталкер
written and directed by Andrei Tarkovsky, 1979.

“Tarkovsky creates these disruptions in time by breaching the feeling of its normal rhythms. The sense of time’s universality is violated by personal memories that penetrate into past histories, creating ripples through the fabric of time. A sense of virtuality parallels one of actuality, and what is most personal becomes time-like and most universal. In effect, Mirror breaches the movement-image structure by implanting a time-image mesh (a mesh => “gaps”) at the heart of an infraction in the steady flow of time. The temporal disruptions result from the mélange of personal histories and time-memory elements that maintain the time-pressure differential between shots, sometimes moving into flashbacks and sometimes into dreams.”
A Deleuzian Analysis of Tarkovsky’s Theory of “Time-Pressure” by David George Menard.
Here, an interesting analysis of the movie by Matthew Pridham.

Stoyline from IMDB
Near a gray and unnamed city is the Zone, an alien place guarded by barbed wire and soldiers. Over his wife’s objections, a man rises in the early morning and leaves her with their disabled daughter to meet two men. He’s a Stalker, one of a handful who have the mental gifts (and who risk imprisonment) to lead people into the Zone to the Room, a place where one’s secret hopes come true. His clients are a burned out popular writer, cynical, and questioning his talent; and a quiet scientist more concerned about his knapsack than the journey. In the deserted Zone, the approach to the Room must be indirect. As they draw near, the rules seem to change and the stalker faces a crisis.

Loved the railroard sequence near the beginning of the movie with the camera moving slowly from one portrait to another, as if time was inexistent.