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The reality of nostalgia is nowhere better invoked than at the end of Tarkovsky's 'Solaris.' When the camera pans away from Kelvin embracing his father on the rain-soaked steps of his dacha, we realise that the scene is yet another of the simulations produced by the inscrutable planet.
The reality of nostalgia is nowhere better invoked than at the end of Tarkovsky's 'Solaris.' When the camera pans away from Kelvin embracing his father on the rain-soaked steps of his dacha, we realise that the scene is yet another of the simulations produced by the inscrutable planet.
Mark Fisher
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