Andrei Tarkovskys mesterværk Vandringsmanden fra 1979 er en af Ruslands allerstørste science fiction-film. Den er blevet kaldt Tarkovskijs mest pessimistiske vision af verden, men det er også hans måske mest tilgængelige film, åben for allehånde fortolkninger. Løst baseret på en roman af forfatterne Arkady og Boris Strugatsky er det en filosofisk fabel om en videnskabsmand og forfatter, der følger en såkaldt stalker ind i det forbudte territorium kaldet Zonen, som staten har afspærret, og hvor rygtet vil vide, at mennesker kan få deres inderste ønsker opfyldt. Turen gennem militære kontrolposter og obskure farer bliver en rejse ind i en anden verden, hvor Tarkovsky lader virkeligheden vige for abstrakte billeder og livsanskuelser med en overrumplende originalitet.
Hvor man kan se Vandringsmanden
- lennyofficial17. september 2026A science-fiction and metaphysical film that touches upon various aspects of human existence—and not merely in an indirect way. Near a small town lies a place known as "the Zone"—legend has it that a meteorite struck the area—where paranormal phenomena occur that can prove fatal to anyone who encounters them. For this reason, entry is strictly forbidden and the area is sealed off by the military. A "Stalker"—a sort of guide to this place—escorts a writer and a scientist toward and through the Zone. The three men do not even introduce themselves, referring to one another only by their roles—except for the Stalker, who calls himself "Lynx-Eye." Tension mounts right from the start regarding access, but eventually, the trio succeeds in entering. The journey inside the Zone is anything but easy or straightforward; every stage is marked by uncertainty, oscillating between hope and the fear of never returning. This continues until they reach their final destination: the famous room that Stalkers themselves cannot enter. It is said that upon entering this room, one's deepest, most sincere wish is magically granted. Yet, despite this extraordinary promise, neither the writer nor the scientist enters; indeed, neither truly believes in the legends surrounding the room. This journey serves as an allegory for human existence, with the characters representing different human approaches to it. The writer embodies an approach that appears reckless at first glance but is actually disillusioned and unconventional; he personifies the crisis of art—the intellectual who no longer believes in his own inspiration. The Scientist, conversely, represents a more pragmatic and schematic approach—a product of his analytical, scientific mindset and of modern reason, which seeks to comprehend and control everything, even contemplating the destruction of the Room. The Stalker, meanwhile, acts as a sort of Charon for this journey—though one in whom people place diminishing faith, particularly regarding the final destination, as many (like the Writer and the Scientist) are wary of grand expectations. He embodies faith—not necessarily religious in nature, but a conviction that something exists beyond the realm of rationality. These approaches inevitably clash at almost every turn, giving rise to profound reflections without any single perspective ultimately prevailing over the others. In the end, the Room serves as an allegory for happiness in a general sense—a happiness that manifests differently depending on the inner self of the individual who chooses to enter it. The performances are nothing short of superb, particularly that of the ever-reliable Anatoliy Solonitsyn. They are also deeply immersive, especially in the varying approaches to this kind of journey—including speeches that seem addressed to the characters yet break the fourth wall to speak directly to the viewer. The framing and camera movements border on the metaphysical; as always, they create tableaux—in this specific instance, images of decay and unease—while allowing the viewer to step inside them thanks to long, unbroken takes. The color palette is far from arbitrary: at the beginning and end—that is, when outside the "Zone"—the scenes are monochromatic, leaning towards sepia tones, as if symbolizing an ordinary yet murky existence, one characterized by ineptitude and an aversion to self-examination. In contrast, color appears within the "Zone"—though certainly not in bright or reassuring hues, given that the unfolding drama is a mysterious and unsettling pilgrimage of the soul. With this film, Tarkovsky has delivered yet another masterpiece of world cinema, capturing human fears alongside various intellectual and spiritual archetypes. An unforgettable work—and, above all, essential viewing for any lover of cinema...
- makdelart27. marts 2026A journey into the Zone is like a journey into our own selves, a discovery of our own weaknesses and a reflection on the meaning of existence – there can be countless interpretations. It’s astonishing how this was achieved with such limited resources. But to do that, you have to be Tarkovsky. The cinematography, camerawork, lighting, use of colour and, finally, the music – it is absolute masterpiece.
- frazil78. oktober 2026Greatest film ever made in my opinion
- DK27. august 2026Slow burn but very good movie!
- neuroparadox30. juli 2025Basically the prequel to Stand By Me when you really think about it... 🤔 Joke aside, this was great. Visually stunning, the sound is haunting, meticulously paced, and it has a great ending that makes you go: "Wait, what did I miss?" Stands on its own without having to dive into all the philosophical and sociopolitical yada yadas. Side note: I watched Stalker because I had recently read the (loosely-based-on) source material, Roadside Picnic, which was an excellent sci-fi book with one of the most interesting premices I had come across in awhile. The following is a excerpt from the foreword to Roadside Picnic by Ursula K. Le Guin: Roadside Picnic is a “first contact” story with a difference. Aliens have visited the Earth and gone away again, leaving behind them several landing areas (now called the Zones) littered with their refuse. The picnickers have gone; the pack rats, wary but curious, approach the crumpled bits of cellophane, the glittering pull tabs from beer cans, and try to carry them home to their holes. Most of the mystifying debris is extremely dangerous. Some proves useful—eternal batteries that power automobiles—but the scientists never know if they are using the devices for their proper purposes or employing (as it were) Geiger counters as hand axes and electronic components as nose rings. They cannot figure out the principles of the artifacts, the science behind them. An international Institute sponsors research. A black market flourishes; “stalkers” enter the forbidden Zones and, at risk of various kinds of ghastly disfigurement and death, steal bits of alien litter, bring the stuff out, and sell it, sometimes to the Institute itself. If that doesn't make you want to read it then nothing will!
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- maj 1979 blev Vandringsmanden udgivet.
Vandringsmanden blev instrueret af Andrei Tarkovsky.
Vandringsmanden har en spilletid på 2 t 42 m.
Vandringsmanden blev produceret af Aleksandra Demidova.
Andrei Tarkovskys mesterværk Vandringsmanden fra 1979 er en af Ruslands allerstørste science fiction-film. Den er blevet kaldt Tarkovskijs mest pessimistiske vision af verden, men det er også hans måske mest tilgængelige film, åben for allehånde fortolkninger. Løst baseret på en roman af forfatterne Arkady og Boris Strugatsky er det en filosofisk fabel om en videnskabsmand og forfatter, der følger en såkaldt stalker ind i det forbudte territorium kaldet Zonen, som staten har afspærret, og hvor rygtet vil vide, at mennesker kan få deres inderste ønsker opfyldt. Turen gennem militære kontrolposter og obskure farer bliver en rejse ind i en anden verden, hvor Tarkovsky lader virkeligheden vige for abstrakte billeder og livsanskuelser med en overrumplende originalitet.
Nøglepersonerne i Vandringsmanden er Stalker's Wife (Alisa Freyndlikh), Stalker (Aleksandr Kaydanovskiy), Writer (Anatoliy Solonitsyn).
Vandringsmanden er bedømt 16.
Vandringsmanden er en Drama, Sci-fi, Thriller-film.
Vandringsmanden har en seerbedømmelse på 9.2 ud af 10.
Vandringsmanden havde et budget på 120 t US$.
Vandringsmanden har indtjent 36,8 mio. US$ ved billetlugen.