Mirror (1975 film)

File:Mirror (1975) Andrei Tarkovsky (Logo).png

Mirror depicts the thoughts, emotions and memories of Aleksei,{{Lower-alpha explanatory footnote|Aleksei is also called by the Russian diminutive (nickname) Aloysha.}} a Soviet poet, as a child, adolescent, and 40-year-old. The film freely switches between three different timeframes: prewar (c. 1935), World War II (1940s), and postwar (1960s or '70s). The drama is entirely shown from Aleksei's perspective; the adult Aleksei's face is never shown, and his body only briefly glimpsed. Tarkovsky said that because a memory reveals "what [a person] thinks, how he thinks, and what he thinks about", a film collecting a man's memories "build[s] up a graphic and clearly-defined picture of him" without needing to show the man himself.{{rp||page=29}}

Tarkovsky structured the film as a series of memories Aleksei ponders, saying that "the episodes the narrator remembers at an extreme moment of crisis cause him pain up to the last minute, [and] fill him with sorrow and anxiety."{{Cite book |last=Tarkovsky |first=Andrei |author-link=Andrei Tarkovsky |title=Sculpting in Time: The Great Russian Filmmaker Discusses His Art |title-link=Sculpting in Time |publisher=University of Texas Press |year=1987 |isbn=0-292-77624-1 |pages= |language=en |translator-last=Hunter-Blair |translator-first=Kitty}}{{rp||page=134}} To represent the real-life experience of a man going over old memories, the film's structure is discontinuous and nonchronological, lacks a conventional plot, and combines incidents, dreams, memories, newsreel footage, and Arseny Tarkovsky's poems in voiceover.Timo Hoyer: Filmarbeit – Traumarbeit. Andrej Tarkowskij und sein Film "Der Spiegel" ("Serkalo"). In: R. Zwiebel / A. Mahler-Bungers (Hrsg.): Projektion und Wirklichkeit. Die unbewusste Botshaft des Films. Vandenhoeck & Ruprecht, Göttingen 2007, S. 85–110. {{ISBN|978-3-525-45179-3}}. Scenes are connected not by time or place, but by particular individuals and motifs that serendipitously come to mind, such as a book that Aleksei once read during an important moment, or a background character mentioned during a phone call.

The film encourages viewers to embrace its nonlinear, seemingly illogical narrative by including an opening scene in which a physician examines a man with a stutter. The physician asks the patient to concentrate on his hands and then suddenly relax. None of this seems related to his stutter, but the therapy releases the patient's mind, and he triumphantly says, "I can talk."

Before the Great Patriotic War (1941-45), Aleksei's mother, Maria,{{Lower-alpha explanatory footnote|Maria is also called by the Russian diminutives (nicknames) Masha and Marusya.}} lives with her children in a plain countryside dacha. A passerby doctor notes that Maria's husband has left her. Before leaving, the doctor mysteriously rambles about how modern Russians do not "trust the nature that is inside us". Maria stares out the window and silently cries while Tarkovsky's father recites his poems in voiceover. Her barn burns down. The family stare at the flames, powerless to stop them.

In a dream sequence (colored in sepia), Aleksei's father helps his mother wash her hair. His mother looks in the mirror and sees a vision of herself as a proud, old woman.

In the present day (1960s/70s), after the war, the adult Aleksei is afflicted by a mysterious malady and haunted by memories of his father. He has a testy phone call with his mother, with whom he frequently quarrels. She hangs up on him.

In a second dream sequence, Maria rushes to her printing press to correct a typo (she merely imagined it). As she searches for the typo, more poems by Tarkovsky's father are heard. Maria's coworker Liza criticizes her for her neediness, calls her a bad mother, and expresses shock that her husband stayed with her for so long. Liza apologizes, but Maria leaves to cry in the office shower.

Returning to the present, Aleksei quarrels with his ex-wife, Natalia, who has custody of their son, Ignat. Natalia asks Aleksei why he is still on bad terms with his mother, and complains that they got divorced because she looks like Maria.{{Lower-alpha explanatory footnote|Natalia and Maria were played by the same actress.}} Aleksei protests that Maria was too controlling.

The film cuts to newsreel scenes of the Spanish Civil War and a balloon ascent in the USSR, intercut with a scene of Loyalist exiles, who attempt to balance their nostalgia for Spain with their new life in Russia.

While visiting Aleksei, Ignat meets a strange woman who asks him to read a letter by Pushkin. Pushkin argues that the split between Orthodoxy and European Catholicism gave Russia its distinctive character and says being Russian is a gift from God.{{Lower-alpha explanatory footnote|The Tarkovsky family was originally Roman Catholic, but converted to Orthodox Christianity when Russia conquered their homeland.{{Cite web |last=Le Fanu |first=Mark |last2=Laird |first2=Sally |title=The Tarkovsky family background |url=http://www.nostalghia.com/TheTopics/Family_Tree.html |access-date=2024-10-23 |website=www.nostalghia.com}}}} Ignat leaves to answer the door, but when he returns, the woman has vanished, though the condensation from her teacup momentarily remains.

During World War II, Aleksei is sent to a dour military school for children, intercut with newsreel footage of the war, the atomic bomb, and the Sino-Soviet border conflict. The only thing enlivening Aleksei's day is an attractive redheaded woman. In the present, Aleksei reminisces to Ignat about her.

After the war ends, Aleksei's father returns. Maria is still bitter, but the children warmly greet him. Aleksei was reading a book about Leonardo da Vinci at the time, and continues flipping through the book in the present when he is feeling nostalgic.

In a third dream sequence, Natalia and Aleksei argue about who should have custody of Ignat, whose grades are poor. To Aleksei's surprise, Ignat asks to stay with Natalia. After Ignat goes outside, Natalia reveals that she has a better relationship with Aleksei's mother than Aleksei does, and complains that she has never received a vision from God. Aleksei mocks Natalia's new boyfriend, insinuating that she cyclically dates struggling Ukrainian writers{{Lower-alpha explanatory footnote|Tarkovsky was descended from a Polish noble family, originally from Lublin, that settled in Iziaslav, Ukraine during the period when Ukraine was controlled by the Polish-Lithuanian Commonwealth.}} (like Aleksei dates women who resemble his mother). Tarkovsky's father recites a poem about how people like nostalgia because in the past, "everything will still be ahead / everything will be possible."

During the war, Maria is thrown off guard by her neighbor's happy relationship with her husband and baby. She steels herself to slaughter a cockerel at the neighbor's request. She sees a vision of her then-departed husband, who comforts her as she levitates above her bed. She confesses that she still loves him.

In the final sequence of the film, three story lines intersect. On his deathbed, Aleksei rues his mistakes and releases a small bird. In the past, Aleksei's father asks a pregnant Maria if she hopes for a girl or a boy, but she cannot answer. In the present, the elderly Maria takes her grandchildren on a walk in a meadow, in harmony with nature at last. They pass by a transmission tower in the shape of a cross.{{Lower-alpha explanatory footnote|Tarkovsky's favorite film, Diary of a Country Priest,{{Cite web |last=Lasica |first=Tom |title=Tarkovsky's Choice |url=http://www.nostalghia.com/TheTopics/Tarkovsky-TopTen.html |access-date=January 19, 2020 |website=Nostalghia.com}} also ends with a shot of a Christian cross.}}

Several of the characters are played by the same actors.

• Margarita Terekhova as the young Maria (Aleksei's mother) and Natalia (Aleksei's ex-wife)
• Maria Vishnyakova (Tarkovsky's mother) as the elderly Maria
• Ignat Daniltsev as the adolescent Aleksei and Ignat (Aleksei's son)
• Filipp Yankovsky as the child Aleksei
• Innokenty Smoktunovsky as the adult Aleksei (voice only)
• Oleg Yankovsky as Aleksei's father
• Alla Demidova as Yelizaveta Pavlovna (Liza), Maria's coworker
• Nikolai Grinko as the director of Maria's printing house
• Anatoly Solonitsyn as a traveling doctor
• Yuriy Nazarov as Aleksei's military instructor
• Tamara Ogorodnikova as the mysterious woman drinking tea and the nanny
• Larisa Tarkovskaya (Tarkovsky's wife) as Nadezhda, Maria's countryside neighbor
• Olga Kizilova as the redhead
• Arseny Tarkovsky as narrator/poet (voice only)

While highly acclaimed, Mirror continues to be viewed as enigmatic. Natasha Synessios wrote that it is closer in structure to a musical piece than a narrative film, noting that Tarkovsky "always maintained that he used the laws of music as the film's organisational principle...emphasis placed not on the logic, but the form, of the flow of events."{{sfn|Redwood|2010|p=63}} Critic Antti Alanen called the film a "space odyssey into the interior of the psyche" and Tarkovsky's own personalized version of Marcel Proust's In Search of Lost Time.{{cite web|url=http://www.bfi.org.uk/films-tv-people/sightandsoundpoll2012/voter/785|archive-url=https://web.archive.org/web/20160818144256/http://www.bfi.org.uk/films-tv-people/sightandsoundpoll2012/voter/785|url-status=dead|archive-date=18 August 2016|title=Antti Alanen|publisher=British Film Institute|access-date=March 10, 2017}} Howard Hampton argued that the work's central subject is "the inescapable persistence of the past".{{cite web|url=http://www.bfi.org.uk/films-tv-people/sightandsoundpoll2012/voter/539|archive-url=https://web.archive.org/web/20160818095546/http://www.bfi.org.uk/films-tv-people/sightandsoundpoll2012/voter/539|url-status=dead|archive-date=18 August 2016|title=Howard Hampton|publisher=British Film Institute|access-date=March 10, 2017}}

Mirror draws heavily on Tarkovsky's childhood. The film frequently parallels events in Tarkovsky's life, such as the evacuation from Moscow to the countryside during the war; a father who left the family and only returned after the war; and his mother's experiences as a proofreader at a state-owned printing press. Both of Tarkovsky's parents participate in the film: the father reads his poems and the mother portrays an elderly version of Aleksei's mother. According to Tarkovsky's sister Marina, the film also reflects Tarkovsky's guilt about divorcing his first wife, Irma Raush. She said that Tarkovsky named the film Mirror because he "understood that he had followed in the footsteps of our father, who had also divorced our mother".{{Cite news |last=Kupinska |first=Hanna |date=2010-01-19 |title=Memories of Tarkovsky: Andrei Tarkovsky's sister tells about the Ukrainian roots of their family |url=https://day.kyiv.ua/en/article/culture/memories-tarkovsky |access-date=2024-10-24 |work=The Day (Kyiv)}}

Tarkovsky said making the film was personally therapeutic, as it allowed him to move on from his memories.{{Cite book |last=Tarkovsky |first=Andrei |author-link=Andrei Tarkovsky |title=Sculpting in Time: The Great Russian Filmmaker Discusses His Art |title-link=Sculpting in Time |publisher=University of Texas Press |year=1987 |isbn=0-292-77624-1 |pages= |language=en |translator-last=Hunter-Blair |translator-first=Kitty}}{{rp||page=128|pages=}} But while Mirror is often characterized as an autobiographical film, it is not hagiographic. In Sculpting in Time, Tarkovsky wrote, "The hero of Mirror was a weak, selfish man incapable of loving even those dearest to him for their sake alone, looking for nothing in return—he is only justified by the torment of soul which assails him towards the end of his days as he realizes that he has no means of repaying the debt he owes to life."{{rp||page=208|pages=}}

The concept of Mirror dates to 1964, when Tarkovsky wrote down his idea for a film about the dreams and memories of a man, without the man appearing on screen.{{rp||page=29}} The first episodes of Mirror were written while Tarkovsky was working on Andrei Rublev. These episodes were published in 1970 as a short story titled A White Day. The title was taken from a 1942 poem by his father, Arseny Tarkovsky. Tarkovsky separately considered writing a novella about a boy who is evacuated to the countryside during World War II and is forced to train at a military school, but shelved the idea after deciding there was not enough material for a standalone work.{{rp||page=|pages=128-29}}

In 1968, after finishing Andrei Rublev, Tarkovsky went to the cinematographer's resort in Repino intending to write the script for The Mirror with Aleksandr Misharin. This script was titled Confession and was proposed to the film committee at Goskino. It contained popular themes such as a heroic mother, the war, and patriotism, but the proposal was rejected. The main reason was most likely the complex and unconventional script. Moreover, Tarkovsky and Misharin clearly said that they did not know what the film's final form would be; this was to be determined in the process of filming.{{cite book | last = Tarkovsky | first = Andrei | editor =William Powell | title = Collected Screenplays | publisher = Faber & Faber | year = 1999 | location = London }} After the script was rejected, Tarkovsky made the film Solaris. His diary entries showed that he was still eager to make the rejected film.

Several versions of the script for Mirror exist, as Tarkovsky constantly rewrote parts of it, with the latest variant written in 1974 while he was in Italy. One scene that was in the script but removed during shooting was an interview with his mother. Tarkovsky wanted to use a hidden camera to interview her on the pretext that it was research for the film. His idea was for the film to intercut a filmed narrative of his childhood with his present-day mother's analysis of how she raised her son, "thus juxtaposing two comparative perceptions of the past".{{rp||page=128}} This scene was one of the main reasons Vadim Yusov, the cameraman for all of Tarkovsky's previous films, refused to work with him on this film.{{cite book | last = Tarkovsky | first = Andrei | translator = Kitty Hunter-Blair | title = Time Within Time: The Diaries 1970–1986 | publisher = Seagull Book | year = 1991 | location = Calcutta | pages = 60–61 (September 17, 1972) | isbn = 978-81-7046-083-1}} (Yusov added that he considered the script too personal and self-absorbed.{{rp||page=135}}) Tarkovsky ultimately gave up on the idea because he could not make it work as a feature film.{{rp||page=128}}

At various times, the script and the film were titled Confession, Redemption, Martyrology, Why are you standing so far away?, The Raging Stream and A White, White Day (sometimes also translated as A Bright, Bright Day). While filming, Tarkovsky decided to title the film Mirror. The film features several mirrors, with some scenes shot in reflection.

The new head of Goskino, Filipp Ermash, approved the script in the summer of 1973. Tarkovsky was given a budget of 622,000 Rbls and 7,500 metres (24,606 feet) of Kodak film, corresponding to 110 minutes, or roughly three takes, assuming a film length of 3,000 metres (10,000 feet).{{cite book |last=Tarkovsky |first=Andrei |title=Time Within Time: The Diaries 1970–1986 |publisher=Seagull Book |year=1991 |isbn=978-81-7046-083-1 |location=Calcutta |page=77 (July 11, 1973) |translator=Kitty Hunter-Blair}} But in July 1974, after Tarkovsky finished the film, Ermash rejected it as incomprehensible. Infuriated by the rejection, Tarkovsky toyed with the idea of making a film outside the Soviet Union. Goskino ultimately approved Mirror without any changes in fall 1974.{{cite book |last=Tarkovsky |first=Andrei |title=Time Within Time: The Diaries 1970–1986 |publisher=Seagull Book |year=1991 |isbn=978-81-7046-083-1 |location=Calcutta |pages=96–97 (July 27, 29 & August 1, 1974) |translator=Kitty Hunter-Blair}}

Initially, Tarkovsky considered Alla Demidova and Swedish actress Bibi Andersson for the role of the mother. In the end, he chose Margarita Terekhova.{{cite book | last = Tarkovsky | first = Andrei | translator = Kitty Hunter-Blair | title = Time Within Time: The Diaries 1970–1986 | publisher = Seagull Book | year = 1991 | location = Calcutta | page = 41 (August 20, 1971) | isbn = 978-81-7046-083-1}}

Principal photography began in July 1973Synessios 2001, p. 27 and ended in March 1974. Outdoor scenes were shot in Tutshkovo, near Moscow, and indoor scenes were shot at the Mosfilm studio.{{cite book | last = Tarkovsky | first = Andrei | translator = Kitty Hunter-Blair | title = Time Within Time: The Diaries 1970–1986 | publisher = Seagull Book | year = 1991 | location = Calcutta | pages = 78, 92–93 (September 30, 1973 & March 8, 17, 1974) | isbn = 978-81-7046-083-1}} The country house in the film was based on photographs of the house where Tarkovsky grew up.{{rp||page=132}} The film's naturalist style required Terekhova to forego makeup.{{cite web|url=http://bulvar.com.ua/gazeta/archive/s45_64269/6507.html|publisher=Bulvar Gordona|author=Dmitry Gordon|script-title=ru:Маргарита ТЕРЕХОВА: "Рубить голову петуху? С какой стати? Я же артистка, а не этот самый — как его? — живодер"|trans-title=Margarita Terekhova, "Cut the head of a rooster? For what reason? I'm an actor, and not the - what is it? - flayer "|language=ru}}

Tarkovsky insisted on shooting the film without a clear idea of its structure, saying it needed to "take shape as if it were by itself."{{rp||page=|pages=131-32}} Much of the script was rewritten during the shoot. Tarkovsky was down to 400 metres of film when he came up with the idea of recasting Terekhova as Aleksei's wife. She had initially played only the mother.{{rp||page=131}} Tarkovsky also took advantage of his imprecision to extract more realistic acting performances. During the early scenes where Maria waits for her husband, he did not tell Terekhova that Maria's husband eventually returns, to better ensure that her performance would be authentically unsure.{{rp||page=|pages=140-41}}

A poster of Tarkovsky's 1969 film Andrei Rublev is seen on a wall.{{cite web |last=Cairns |first=David |date=16 July 2011 |title=Mirror |url=http://www.electricsheepmagazine.co.uk/reviews/2011/07/16/mirror/ |access-date=18 August 2014 |website=Electric Sheep}} Mirror is the third film in a series in which Tarkovsky references Andrei Rublev, along with his eponymous 1969 film and Solaris (1972), in which a bust of the painter is seen in the main character's room.{{cite news |last=Jones |first=Jonathan |date=12 February 2005 |title=Out of this world |url=https://www.theguardian.com/books/2005/feb/12/featuresreviews.guardianreview11 |access-date=18 August 2014 |newspaper=The Guardian}}

Tarkovsky said that a "prodigious amount of work went into editing Mirror". There are about 200 shots in Mirror, very few for a film of its length. Tarkovsky rejected editing as a means of creating, or determining, rhythm, believing that editing "means allowing the separate scenes and shots to come together spontaneously". It was only after "one last, desperate rearrangement" that the "film was born". He felt it was a "miracle" that Mirror held together.{{rp||page=|pages=116-20}}

Tarkovsky was extremely pleased with the final cut, saying, "when I finished making Mirror[,] [c]hildhood memories which for years had given me no peace suddenly vanished, as if they had melted away, and at last I stopped dreaming about the house where I had lived so many years before."{{rp||page=128|pages=}}

File:The Mirror (1975 film).png

Tarkovsky wanted to premiere the film in competition at the 1975 Cannes Film Festival, but the Soviet government (which could submit only one film to the festival per year) chose Sergei Bondarchuk's They Fought for Their Country instead.{{Cite web |last=Chapron |first=Joel |date=2011-01-11 |title=CANNES AND RUSSIA: A LOVE-HATE RELATIONSHIP |url=https://www.festival-cannes.com/en/2011/cannes-and-russia-a-love-hate-relationship/ |access-date=2024-10-21 |website=Festival de Cannes |language=en-US}} The festival's managing director, Maurice Bessy, was sympathetic to Tarkovsky, and had attempted several times to acquire Mirror for Cannes. Upon hearing that Mirror was not allowed to be shown, he threatened to ban They Fought for Their Country from the festival.{{cite book | last = Tarkovsky | first = Andrei | translator = Kitty Hunter-Blair | title = Time Within Time: The Diaries 1970–1986 | publisher = Seagull Book | year = 1991 | location = Calcutta | pages = 106–109 (March 2, April 8, 11, 1975) | isbn = 978-81-7046-083-1}} The Soviets pushed back, insisting that "Soviet cinematographic circles refused ... to accept the idea that Tarkovsky was the only filmmaker of international stature."

Mirror never had an official premiere, only a limited, second-category release with just 73 copies. According to The New York Times, the film premiered in two Moscow theaters in April 1975.{{cite news |last=Clarity |first=James F. |date=April 13, 1975 |title=NEW FILM STIRS SOVIET AUDIENCE: 'Mirror' by Tarkovsky Is Unorthodox and Popular |url=https://www.nytimes.com/1975/04/13/archives/new-film-stirs-soviet-audiencemirror-by-tarkovsky-is-unorthodox-and.html |archive-url=https://web.archive.org/web/20170312050834/https://www.nytimes.com/movie/review?res=9E06E1D6173BE336A05750C1A9629C946490D6CF |archive-date=12 March 2017 |access-date=3 May 2022 |newspaper=The New York Times}}

In 2022, Mosfilm posted the full movie, with English subtitles, on YouTube.{{Cite AV media |url=https://www.youtube.com/watch?v=NrMINC5xjMs |title=The Mirror {{!}} FULL MOVIE {{!}} Directed by Andrey Tarkovsky |date=2022-03-11 |last=Mosfilm |access-date=2024-10-21 |via=YouTube}} The film was also restored in 2K and distributed in the United States by The Criterion Collection.{{Cite web |title=Mirror |url=https://www.criterion.com/films/28894-mirror |access-date=2024-10-21 |website=The Criterion Collection}}

Mirror has an approval rating of 100% on review aggregator website Rotten Tomatoes, based on 26 reviews, and an average rating of 9.2/10.{{cite web |title=The Mirror |url=https://www.rottentomatoes.com/m/the_mirror_1975 |website=Rotten Tomatoes |access-date=3 May 2022}} Metacritic assigned the film a weighted average score of 82 out of 100, based on 14 critics, indicating "universal acclaim".{{cite web | url=https://www.metacritic.com/movie/mirror-1975?ftag=MCD-06-10aaa1c | title=Mirror (1975) | website=Metacritic }}

When Mosfilm critics were asked in November 1974 to evaluate Mirror, responses were divided.{{cite web|url=http://www.tcm.com/this-month/article/62554%7C0/The-Mirror.html|title=The Mirror|last=Steffen|first=James|publisher=Turner Classic Movies, Inc.|access-date=3 May 2022 |archive-url=https://web.archive.org/web/20170312050823/http://www.tcm.com/this-month/article/62554%7C0/The-Mirror.html |archive-date=12 March 2017 |url-status=dead|quote=The finished film was widely criticized for being too 'elite' and private for what was supposed to be a 'mass' art form.}} The New York Times wrote that "in the first round of published reviews, in which some of Mr. Tarkovsky's fellow film makers evaluated his new work, there is much praise, tempered with criticism of some parts of the film." Some viewed it as a major work that would be better understood by future generations; others dismissed it as an unfocused failure and believed that even more cultured viewers would find its story opaque.{{sfn|Synessios|2001|pp=114–115}} When Mirror was released, several Soviet filmmakers publicly condemned it as "inadmissibly 'elitist.'"{{rp||page=9}} This resulted in very limited distribution.{{sfn|Synessios|2001|pp=114–115}}

Many audience members walked out of theatrical screenings, but those who liked the film were ardent in their praise.{{sfn|Synessios|2001|p=116}} In his book Sculpting in Time, Tarkovsky reproduced fan mail from a variety of sources, from working-class film-goers to physicists at the Russian Academy of Sciences.{{rp||page=|pages=9-13}} A woman wrote to Tarkovsky that Mirror resembled her childhood, and told him, "Lord, how true ... we really don't know our mother's faces." Tarkovsky wrote that he had "spent so many years being told that nobody wanted or understood my films, that a response like that warmed my very soul."{{rp||page=10}}

Mirror is frequently listed among the greatest films of all time. In a 2012 Sight & Sound directors' poll, Mirror ranked as the ninth greatest film of all time. In a parallel poll of film critics, the film ranks 19th. In the same poll in 2022, Mirror was ranked eighth by directors and 31st by critics.{{Cite web |url=https://www.bfi.org.uk/sight-and-sound/greatest-films-all-time |title= Sight & Sound 2022 Critics' Poll |access-date= 4 April 2022}}{{Cite web |url=https://www.bfi.org.uk/sight-and-sound/directors-100-greatest-films-all-time |title= Sight & Sound 2022 Directors' Poll |access-date= 4 April 2022}} In the 2002 Critics poll it ranked 35th.{{cite web |title=Sight & Sound Top Ten Poll 2002: The rest of the critics' list |url=http://www.bfi.org.uk/sightandsound/topten/poll/critics-long.html |archive-url=https://web.archive.org/web/20120515211647/http://www.bfi.org.uk/sightandsound/topten/poll/critics-long.html |archive-date=15 May 2012 |access-date=24 April 2009 |work=Sight & Sound |publisher=British Film Institute}} Filmmaker Ashim Ahluwalia included the film in his personal top ten (for The Sight & Sound Top 50 Greatest Films of All Time poll), writing: "Mirror offers epic hypnotherapy and some of the most beautiful celluloid ever shot."{{Cite web |url=https://www.bfi.org.uk/films-tv-people/sightandsoundpoll2012/voter/886 |archive-url=https://web.archive.org/web/20160818113652/http://www.bfi.org.uk/films-tv-people/sightandsoundpoll2012/voter/886 |url-status=dead |archive-date=18 August 2016 |title=Ashim Ahluwalia |website=British Film Institute |access-date=3 May 2022}} For the same poll, Will Self wrote that it remains "the most beautiful film ever made".{{cite magazine |url= http://thequietus.com/articles/09180-looking-in-looking-out-2012 |title= Looking In, Looking Out Film Festival |magazine= The Quietus |date = 2012-06-27 |access-date=2012-06-29}} Director Michael Haneke voted for Mirror in the 2002 Sight & Sound directors' poll (where the film ranked 16th){{cite web |title=Sight & Sound 2002 Directors' Greatest Films Poll |url=https://www.listal.com/list/sight-sound-2002-directors |access-date=3 May 2022 |website=listal.com}}{{cite web |title=Sight & Sound Top Ten Poll 2002 The Rest of Director's List |url=http://old.bfi.org.uk/sightandsound/polls/topten/poll/directors-long.html |url-status=dead |archive-url=https://web.archive.org/web/20120621133905/http://old.bfi.org.uk/sightandsound/polls/topten/poll/directors-long.html |archive-date=21 June 2012 |access-date=3 May 2022 |website=old.bfi.org.uk}} and later said he had seen it at least 25 times.{{cite magazine |title=Happy Haneke |url=http://www.newyorker.com/magazine/2009/10/05/happy-haneke |magazine=The New Yorker}}{{cite news |title=Michael Haneke: "Art doesn't offer answers, only questions" |url=http://www.salon.com/2013/01/23/michael_haneke_art_doesn%E2%80%99t_offer_answers_only_questions/ |work=Salon}}

In 2018, Mirror ranked 20th on the BBC's list of the 100 greatest foreign-language films, as voted on by 209 film critics from 43 countries.{{cite web |date=29 October 2018 |title=The 100 Greatest Foreign Language Films |url=https://www.bbc.com/culture/article/20181029-the-100-greatest-foreign-language-films |access-date=10 January 2021 |publisher=British Broadcasting Corporation}}

Peter Bradshaw of The Guardian called Mirror "a startling piece of film-making" and many of its images "transcendentally brilliant".{{cite news|url=https://www.theguardian.com/film/News_Story/Critic_Review/Guardian_review/0,,1281613,00.html|title=Mirror|last=Bradshaw|first=Peter|newspaper=The Guardian|date=August 13, 2004|access-date=March 9, 2017}} In the British Film Institute, the film is billed as "a work of cumulative, rhythmic effect" and its unconventional narrative is credited with having "pioneered a poetic and richly allusive form."{{cite web|url=http://www.bfi.org.uk/films-tv-people/4ce2b6bb90873|archive-url=https://web.archive.org/web/20160211222400/http://www.bfi.org.uk/films-tv-people/4ce2b6bb90873|url-status=dead|archive-date=11 February 2016|title=Mirror (1974)|publisher=British Film Institute|access-date=March 9, 2017}}

Director Christopher Nolan cited Mirror as an influence on his 2023 film Oppenheimer, particularly in regard to cinematography.{{cite web|url=https://www.vulture.com/article/oppenheimer-christopher-nolan-cillian-murphy-behind-the-scenes.html|title=How Christopher Nolan Crafted the World of 'Oppenheimer'|publisher=Vulture |date=17 July 2023 |access-date=14 August 2023}}

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{{reflist}}

• {{cite book |title=Mirror: The Film Companion |first=Natasha |last=Synessios |date=2001 |publisher=I.B. Tauris |isbn=978-1-86064-521-1 }}
• {{cite book|url=https://books.google.com/books?id=P1UaBwAAQBAJ|title=Andrei Tarkovsky's Poetics of Cinema|last=Redwood|first=Thomas|publisher=Cambridge Scholars Publishing|date=2010|isbn=978-1-4438-2240-4}}

• {{IMDb title|0072443|Mirror}}
• {{Rotten Tomatoes|the_mirror_1975|The Mirror}}
• [http://cinema.mosfilm.ru/films/film/1970-1979/zerkalo/?show The Mirror] at official Mosfilm site with English subtitles
• [https://web.archive.org/web/20071004221252/http://www.forizslaszlo.com/irodalom/europai_kolteszet/arszenyij_tarkovszkij/eng/arszenyij_tarkovszkij_ru.html Poems of Arseny Tarkovsky recited in the film] {{in lang|ru}}
• [http://artsandfaith.com/t100/themirror.html Voted #16 on The Arts and Faith Top 100 Films (2010)]
• [https://www.criterion.com/current/posts/7453-mirror-all-is-immortal Mirror: “All Is Immortal”] an essay by Carmen Gray at the Criterion Collection

{{Andrei Tarkovsky}}

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Category:1975 films

Category:1970s Soviet films

Category:1970s Russian-language films

Category:1970s Spanish-language films

Category:1975 in the Soviet Union

Category:1970s avant-garde and experimental films

Category:1970s biographical drama films

Category:Soviet biographical drama films

Category:Russian biographical drama films

Category:Films directed by Andrei Tarkovsky

Category:Films scored by Eduard Artemyev

Category:Films set in Russia

Category:Films set in 1935

Category:Films set in the 1940s

Category:Films set in 1969

Category:Films shot in Moscow Oblast

Category:Existentialist films

Category:Films about mother–son relationships

Category:Non-narrative films

Category:Soviet avant-garde and experimental films

Category:Russian avant-garde and experimental films

Category:Russian nonlinear narrative films

Category:Mosfilm films

Category:Russian Civil War films

Category:Spanish Civil War films