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Mário Avelar Universidade Aberta, Lisbon, Portugal  Andrei Tarkovsky’s cinematic signature bespeaks of a metaphysical dimension which is inseparable of an unwavering dialogue between poetic word and image. In three of his movies—Mirror (1975), Stalker (1979) and Nostalghia (1983)—the Russian director helps to build this dimension with the insertion of his father’s Arsenii poems. Although these poems may develop a pivotal dynamic in Mirror, even when they may seem to have a marginal existence, such as they do in Stalker and Nostalghia, their function is far from assuming a decorative status. Anchored in Tarkovsky’s notion of organic movie in mind, as he developed it in his book Sculpting in Time, and in William Desmond’s concept of in-betweeness, as he conceived it in Art, Origins, Otherness—Between Philosophy and Art, this article challenges the notion of structural relevance, and shows how the alleged marginal presence of Arseni’s words contribute to create a space of metaphysical in-betweeness that lies at the core of the movie’s spiritual dimension.

Andrei Tarkovsky’s Imaginary: Word, Silence, and Meaning