Film geeks are generally of two minds about Russian auteur Andrei Tarkovsky: there are those who bask in his lengthy and lyrical works, savoring each lingering shot like a sip of Chateau Lafite. And there are others who argue that his movies are dull, meandering, plotless, slideshows whose hidden meanings are too obscure to be divined. What’s for certain is the late Tarkovsky had a poet’s eye and an enviable gift for visual composition. This weekend, armchair critics can shuffle over to Clinton Street Theater for a gander at a sparkling new 35mm print of Tarkovsky’s most autobiographical film, The Mirror. In a nutshell, it’s a stirring collection of vivid memories from the mind of a dying man. No hermetic secrets, no secret codes. Just a cascade of unforgettable images.


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