The Soviet Nomad

The science fiction films of Andrei Tarkovsky, Solaris (1973) and Stalker (1979), are complex responses to the repressive atmosphere of Brezhnev’s rule, after the 7-year delay in seeing Andrei Rublev (1971) released publicly. By using science fiction—a genre that Tarkovsky openly maligned—he was able to fly beneath the radar of State censorship, and develop a nuanced response to the application of Marxist theory of religion in the Soviet experience. Arguing in these films (and in others in his oeuvre) that humans still need the affective dimension of religion (though not the hierarchical, institutional elements of it that Marx had identified with sedation), Tarkovsky hid within his science fiction films a thoroughgoing critique of the Soviet application of Marx. This article uses the concept of “war machine” from the philosophy of Gilles Deleuze and Félix Guattari to analyze how Tarkovsky did this, and demonstrates that Tarkovsky’s engagement with Marx’s philosophy in these two films shares much in common with Deleuze and Guattari’s way of understanding human meaning making.