Abstract:
Tarkovsky’s Solaris converts Stanislaw Lem’s science fiction into a tragic drama: not only a problem of conscience, but also a dilemma of action. If there is a dramatic antihero, Kris Kelvin, there is also a tragic heroine, Hari, and both are antagonistic and complementary forms of the same conscience. Some effects of this hypothesis unfold, in successive order of the experience of the strange: the dread, the seduction, and the familiarity in the relationship with the double. However, there is a higher degree in the fantastic character of this drama: the autonomy of the duplicate woman, her discourse as well as her decision in the outcome, attitudes which permit a feminist interpretation of the film. Hari’s speech represents a critique of the historical and existential condition of woman, and Hari, on the other hand, embodies an inauthentic subjectivity according to Simone de Beauvoir’s thinking.
Keywords:
Woman; Tragic Conscience; Strange; Tarkovsky; Solaris