Abstract

Cinematographic art can regenerate the experience of time as a spiritual memory because cinema can simultaneously present the modes of time, separating them from chronology and immediacy, seeing and thinking about the reality of the future of the world and, therefore, the crossroads where the spirit is called to create itself in relation to the way things become, which implies choosing to believe that is possible. The aim of this work is to show how the film concept and style of Tarkovsky in the film Nostalghia, through the sequence shot, expresses a spiritual memory that can be understood as Kierkegaard’s existential becoming of the human spirit in the world.