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TO JUNE 1
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Stephen Soderbergh’s 2002 remake of Solaris was too big a flop to spark a revival of the work of Andrei Tarkovsky, the Russian who directed the 1972 original; Tarkovsky’s style is so deliberate and dreamlike that even Soderbergh’s compressed and Clooney-ized version couldn’t sell it to American multiplex-goers. Still, Tarkovsky’s influence isn’t fading. Kino International has just made new prints of six of the director’s films, and those provide the basis for this series. Solaris (at 2 p.m. Friday, May 16, and at 4 p.m. Sunday, May 18), a parable of loss and wish-fulfillment set on an underpopulated space station, is one of two sorta-sci-fi films that cast a skeptical eye on Soviet futurism; the other is 1979’s Stalker (at 2:30 p.m. Friday, May 23, and at 4 p.m. Sunday, May 25), in which secular pilgrims travel through “The Zone” to a place where profound wishes are allegedly granted. The once-suppressed 1966 Andrei Rublev (pictured, at 2 p.m. Friday, May 9, and at 4:30 p.m. Sunday, May 11) imagines the little-documented life of a major Russian icon painter, while 1974’s The Mirror (at 2:30 p.m. Thursday, May 15, and at 3 p.m. Sunday, May 17) is a fragmented biography of another artist: Tarkovsky himself. The director’s final film, the suitably apocalyptic 1986 The Sacrifice (at noon and 3 p.m. Saturday, May 24), was made while he was dying of cancer. Also included is Directed by Andrei Tarkovsky (at 2:30 p.m. Thursday, May 29, and at 4 p.m. Sunday, June 1), a documentary shot during the filmmaker’s final months. The series runs to Sunday, June 1, at the National Gallery of Art’s East Building Auditorium, 4th and Constitution Avenue NW. Free. (202) 842-6799. (Mark Jenkins)