This is the Steamroller and the Violin, the 1961 graduation film of Andrei Tarkovsky.

这是《压路机和小提琴》，安德烈·塔可夫斯基 1961 年的毕业电影。

'As the train approached, ' wrote Tarkovsky, 'panic started in the theatre: people jumped and ran away.

“火车驶来，戏院中的恐慌气氛亦随之而来。人们纷纷跳离座位，四处逃窜。

Take for example how Tarkovsky shows despair through a woman who watches a burning house, while sitting on a well.

举个例子，塔可夫斯基是如何通过一个坐在井边看着着火的房子的女人来表现绝望的。

For Tarkovsky, Ivan's Childhood was a test to see whether or not he had it in him to be a film director.

对塔可夫斯基来说，《伊凡的童年》是对他是否有能力成为电影导演的考验。

Yet the Russian director Andrei Tarkovsky, one of the greatest of all film artists, described the film as a 'work of genius'.

然而俄罗斯导演 Andrei Tarkovsky（最伟大的电 影艺术家之一）却称赞这部影片是“天才之作”。

Tarkovsky believed that to succeed in this seemingly impossible task, directors must work with striking imagery, with that which signifies the distinctively human.

塔可夫斯基认为，要想成功完成这个看似不可能完成的任务，导演们必须运用引人注目的意象，用那些象征着人类独特特征的意象。

It is the reason why so many of Tarkovsky's films are directly based on his own experiences, and include elements that are deeply personal to him.

这就是为什么塔可夫斯基的许多电影都是直接基于他自己的经历，并包含了对他来说非常私人的元素。

For Tarkovsky, the key to that magic was the way in which cinema created a dynamic image of the real flow of events.

对 Tarkovsky 来说，电影魅力存在的关键就是电影创造了事件真实发展的动态画面。

I really wanted to convey Tarkovsky's art in the way he envisioned it: not a something to be intellectually dissected, but as something to be felt.

我真的很想按照塔可夫斯基设想的方式来传达他的艺术: 这不是一种需要理智剖析的东西，而是一种需要感受的东西。

It was clear to Tarkovsky that we wouldn't see our experiences as a linear sequence of events, captured objectively and logically into what could be a plot.

塔可夫斯基很清楚，我们不会把我们的经历看作是线性的事件序列，客观地、合乎逻辑地捕捉到可以成为情节的东西。

It is in this both obvious as well as elusive aspect of the human condition, that Tarkovsky saw something transcendental; something that can only be captured through art.

塔可夫斯基正是在这种既明显又难以捉摸的人类状况中，看到了某种超然的东西；只有通过艺术才能捕捉到的东西。

And, as Tarkovsky shows in so many of his films, this can be difficult in a world that seems to actively discourage people to look past the immediate material reality.

而且，正如塔可夫斯基在他的许多电影中所展示的那样，在一个似乎积极劝阻人们超越眼前物质现实的世界里，这是很困难的。