It's this grand notion of human desire that's interrogated across the film, and while Tarkovsky offers no simple conclusions, it's the accumulation of the debate that lingers, that longing to know ourselves.
Though very different movies, Andrei Tarkovsky's Stalker shares with his previous Solaris a concern with the otherworldly as it impacts the imperfect soul of man. Dense and dogged in its philosophical exploration, the film follows a writer (Anatoly Solonitsyn) and a professor (Nikolai Grinko) as an oddball known as the Stalker (Alexander Kaidanovsky) guides them through a mysterious, perilous, and heavily guarded site ominously called the "Zone." There, beyond a wasteland that can't help but summon visions of nuclear fallout, lies a room that's said to grant a person's innermost desires. It's this grand notion of human desire that's interrogated across the film, and while Tarkovsky offers no simple conclusions, it's the accumulation of the debate that lingers, that longing to know ourselves.