Mirror
Tarkovsky's "Mirror", a wide weave of sepia archive footage and remembered history. Without discernable plot, pinpoints of light and scene capture precisely those snapshots moments from childhood that distill the experiences of years to vigette visual poems. You can almost smell the crisp bed-linen, feel the wind on your face, the bite of the frost. This is Tarkovsky's best and achieves the goal he failed to find in "Nostalgia" and other ponderous works.

The movie is in the context of film theory said to be "dream art". The term oneiric ("pertaining to dream") is applied - a filmic parallel to the "stream of consciousness" technique in literature expounded by Strindberg where a narratve did not distinguish between fantasy and reality. The territory beween fantasy and memory is a blur, and that blurring and reinvention of history is the area where nostalgia moves, enclosing us in it's motherly comfort, reassuring us with pictures of a past filtered by the need to know that a once better place existed. Summed up in the words of Polish poet Boleslaw Lesmian: "I recall that now recalling it all can't be done: The grass beyond grass world vast I'm calling someone."