To Andrei Tarkovsky, for a theology of love and silences
Issue 158 · 1992
This article offers a personal and theological meditation on the cinematic work of Andrei Tarkovsky, considered as a site of spiritual revelation. Written in the first person, it adopts the form of an intellectual and mystical testimony, in which the author traces her journey of aesthetic and theological conversion through the films of the Russian director. The central idea is that Tarkovsky's art constitutes a genuine implicit theology of love and silence: his images, particularly in *Andrei Rublev*, *Solaris*, and *The Sacrifice*, reveal the presence of God at work in wounded flesh, in the couple, and in the creative act. The article develops an original reflection on the relationships between art, holiness, femininity, and eschatology, proposing that the Trinitarian relationship of God-man-woman constitutes the anthropological foundation of a theology of incarnate resurrection.
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