“Solaris” has up to now been the better-known of the two, in part for its more easily graspable lost-in-space story line and also for Steven Soderbergh’s 2002 remake. The recent turn toward deeper, metaphysical considerations in that venerable franchise only makes Tarkovsky’s heady, poetic takes on science-fiction seem that much more fully realized. It’s also a pleasant happenstance that they are hitting local screens at the same time that “Alien: Covenant” is opening. The films’ screenings this week at the Nuart - “Stalker” plays Friday to Monday, “Solaris” Tuesday to Thursday - provide a great opportunity to consider them anew. The rereleases of two of his films, 1979’s “Stalker” and 1972’s “Solaris,” may help change that. Andrei Tarkovsky is one of those names that strikes a certain intimidating foreboding in even the heartiest, most adventuresome of moviegoers, a filmmaker who is arguably more respected than deeply known.
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