This film, later recognized as important in 1988, recounts the experiences of a celebrated Russian iconographer and fresco painter. Given that details about his life are scarce due to the period he lived in—the early 15th century—Andrei Tarkovsky had considerable freedom to create a portrayal of this gifted, troubled individual who was often misunderstood and viewed with suspicion. The story unfolds across eight episodes, interweaving the artist’s personal growth alongside significant political events as his country struggles toward unity, sometimes through harsh means. It examines the influence of the church within a deeply religious and superstitious society, presenting a less confrontational connection between communist themes—common in Soviet films of that era—and the iconic figures central to Russian heritage. The visuals are strikingly inventive; the narrative doesn't adhere to a straightforward structure, offering an indirect understanding not only of his life but also of existence within a nation evolving from a rudimentary state—a captivating aspect even if it’s occasionally challenging to grasp. It represents both the man at the center of the story and the filmmaker himself—a remarkable series of beautifully shot ideas that reveal intricate portrayals of human nature in all its forms. Remarkably, despite running over three hours, the film moves smoothly, with Anatoliy Solonitsyn delivering a powerful sense of humanity in his performance. Seeing it in a movie theater would be worthwhile, particularly the final ten minutes or so, which showcase his impressive artistry in vibrant color.

Source on TMDB