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Film

Robert Eggers favourite Andrei Tarkovsky film

@Russellisation

In the list of the finest working filmmakers, American director Robert Eggers certainly occupies one of the top spots, with his modern classics The Witch and The Lighthouse standing out as two of the finest films of contemporary cinema. With a signature dark colour palette and fondness for gritty, grubby folk tales, Eggers has set himself aside from the clean look of many modern Hollywood movies. 

Having already thrilled audiences in the realms of folk horror, Eggers’ next project is set to take fans of the filmmaker to totally new places, with The Northman following a young Viking prince who sets about on a quest to avenge his father’s murder. Penned by himself and the famous Icelandic Dancer in the Dark screenwriter Sjón, the brand new film stars the likes of Alexander Skarsgård, Nicole Kidman, Ethan Hawke, Willem Dafoe and Anya Taylor-Joy.

Primed to be one of the finest films of 2022, if indeed The Northman is as good as the spellbinding first trailer suggests then Robert Eggers could be catapulted to international acclaim, rightly being considered one of the finest working modern filmmakers. 

Due to his captivating filmmaking style, Eggers has become something of a fan favourite in the past decade with his every word and recommendation warranting excitement from cinephiles across the world. One such recommendation came in a discussion with Rotten Tomatoes when Eggers discussed his favourite films of all time, listing Andrei Rublev as his top pick from the glittering filmography of Andrei Tarkovsky.

From Ingmar Bergman to Andrei Tarkovsky: Robert Eggers names his 5 favourite films of all time

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Known as one of the greatest filmmakers of all time, the Russian director Andrei Tarkovsky has become a staple of arthouse cinema, creating such classics as Stalker, Solaris and The Sacrifice that have each gone on to influence the shape of modern filmmaking. Andrei Rublev was the director’s third feature film, released in 1966, and followed the life and afflictions of the 15th-century Russian iconographer St. Andrei Rublev.

Gushing in his adoration for Tarkovsky’s classic film, Eggers described the last act of Andrei Rublev as “probably just the best thing in cinema history. That bell casting sequence is just so powerful”. The third feature from Tarkovsky is predictably poetic, following in the filmmaker’s iconic style, though as Eggers describes “the last movement is very linear, that is incredibly cathartic once you’ve been marinated in this world. It really knocks you out”. 

Spilling out all his excited emotions for the film, Eggers adds “It really knocks you out. But in general, the movie is so well-staged and beautiful and stunning and inspiring. It’s completely mind-blowing”. 

Clearly having a considerable effect on Robert Eggers, parts of Tarkovsky’s monochrome Andrei Rublev can be seen translated into the American director’s own magnificent works, with The Witch and The Lighthouse utilising a similar sense of dirt, grime and authenticity.