The apories of the sacred and the sublime in Andrei Tarkovski’s films

Abstract

The contribution of article resides in an attempt to solve the problem that involve aesthetic studies and their relationship between with the sacred., based on the theoretical contribution of Rudolf Otto on the numinous and philosophical canons of the category of the sublime, made by Schiller and Longino, resulting in, thus, in the powerful cinema of the Russian director Andrei Tarkovsky, specifically, in his film The mirror (1975); and also for his theoretical thinking, whose idea he perceived in cinematographic images windows, so to speak, in which man can have access to spiritual enjoyments. Despite the intrinsic difficulty of the problem, we want to demonstrate, through examples from the film, the border relationship that the work of the Russian filmmaker maintained between a genuinely aesthetic experience and an experience that flirts with the sacred.