Seriously, Tarkovsky’s films seem to be named Mirror, Nostalgia or Stalker. In adaptations such as Flying to Space, the old tower still uses indoor rain, water grass, snow scenes, etc. I don't care about the deviation from the original theme of the scene I am used to. He himself said that he was sick of the modern, scientific things that the space station represented because they "symbolized the mistakes that human beings make", and the connection he found with Lyme was "consciousness", especially, awareness of himself and humanity, so In the book, the communication between human beings and extraterrestrial civilization "the third type of contact" is internalized in the film as Hari's self-consciousness and Kris's obsession with looking back at his hometown (and mother). The book emphasizes that "we come from this world. , and suffocated in this world", Laota took over the sigh, and then sang the voice of "human beings need human beings". He did not shy away from inserting Bach, Bruegel, and Tolstoy in the film, because human beings' self-examination is far from over, and the meaning of life, wisdom and love remains mysterious. There is a little bit of everything here. Note what I mean, not the pure otherness that is portrayed in the book. What’s interesting is that Laota took a subjective shot of walking on the Japanese highway, which has no narrative effect, probably to create a sense of alienation and apocalypse in science fiction (filmed in 1972), which is like Godard’s shot in Alpha City. The dark night scene, in which humans abdicated to some kind of icy mechanical passage.
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